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4 MEN WITH BEARDS

SPRINGFIELD, DUSTY: Dusty In Memphis LP (4M 112LP)22.002015 repress. "Dusty grooves in Memphis! Britain's greatest pop diva Dusty Springfield was the finest white soul singer of her era and this landmark Atlantic Records album from 1969 is a masterpiece, a perfect marriage of pop and soul. Contains her top 10 hit 'Son Of A Preacher Man' plus several other hit singles and classic tracks. Dusty In Memphis was picked as the #9 coolest record of all time in the April 11, 2002 issue of Rolling Stone and chosen by Mojo magazine as one of the best 100 albums ever released. A recognized classic around the world! Audiophile remastering from the original master tapes. 180 gram HQ vinyl. original artwork."

FRANKLIN, ARETHA: Aretha Live At Fillmore West LP (4M 115LP)22.002015 repress. "Aretha Franklin's 1971 album Live at Fillmore West was a seminal soul breakthrough. It finally cemented her status beyond soul audiences and it matched her with a phenomenal rhythm section in King Curtis and the Kingpens. Franklin adroitly mixed pop, rock, and soul material throughout the three nights, including Stephen Stills' 'Love The One You're With,' and Bread's 'Make It With You,' and the Beatles' 'Eleanor Rigby,' as well as true favorites 'Respect,' 'Don't Play That Song,' and 'Spirit in the Dark,' which brought Ray Charles out of the audience for a spirited duet. Deluxe gatefold sleeve featuring photos from the concert and new liner notes by Down Beat contributor Mitch Myers (including fresh interviews with original album producers Jerry Wexler and Arif Mardin)." Original cover art. 180 gram HQ vinyl.

SAINTS, THE: (I'm) Stranded LP (4M 502LP)24.002015 repress. "The Saints were to Australia what the Sex Pistols were to Britain, and the Ramones to America. Moreover, the Saints were blitzing the unsuspecting in their home of Brisbane in 1973, long before the Sex Pistols or the Ramones had even begun. Even today's punk fans are amazed at the sheer tenacity and outright fire of the title cut, 'Nights in Venice,' 'One Way Street,' and 'Erotic Neurotic.' Hear history burning. Original artwork, gatefold sleeve, 180 gram vinyl."

50 WEAPONS (GERMANY)

FJAAK/RODHAD: Super Smash/Oblivion 12" (50 049EP)14.00180-gram vinyl. The tenth 12" in 50Weapons' 11-part features the first meeting on record of two acclaimed Berlin-based artists known for regularly destroying clubs around the world. FJAAK are joined by Dystopian label head-honcho Rødhåd, who debuts on 50Weapons with "Oblivion," a track inspired by the Elder Scrolls video games. FJAAK also take inspiration from video games -- Super Smash Bros. -- and their tracks shows off the appropriate hyperactivity for which they're known.

A RECORDINGS (UK)

BRIAN JONESTOWN MASSACRE, THE: Their Satanic Majesties Second Request 2LP (AUK 004LP)25.50New 2015 repress. Gatefold 180 gram double vinyl version. Truth in advertising: the Brian Jonestown Massacre's sophomore album does, as promised, spring forth from the Rolling Stones' long-underrated 1967 masterpiece Their Satanic Majesties Request, copping not only Mick and Keith's leering bad-boy attitude but also their rock-and-roll-circus spirit. Opening with the brilliant "All Around You (Intro)," a tongue-in-cheek guide to the mind-altering journey ahead, the record is a kaleidoscopic, drug-fueled freakout -- like the Stones' namesake album, Second Request is painted by Eastern drones and psychedelic tangents, each track bubbling with dozens of sound effects including sitars, mellotrons, farfisas, didgeridoos, tablas, congas, and glockenspiels. Travelling through the past, darkly, the Massacre arrives on the other side unscathed; their music is too rich to be merely retro, and too knowing to be merely slavish -- the Stones themselves haven't made a record this strong or entertaining in years.

ACID COBRA RECORDS (FRANCE)

ULAN BATOR: En France/En Trance CD (ACR 026CD)15.002013 release. Ulan Bator's most finely crafted album yet. En France/En Trance features a fresh line-up and instrumentation, most notably the strange and haunting sounds of the vintage ondes Martenot played by Nathalie Forget. It was recorded in Paris as an intense, concentrated improvisation and quickly evolved into a nine-track album. The sheer maturity and dynamics of this album go well beyond the usual references to Swans, early Sonic Youth, Can, Faust, Bad Seeds, Pan Sonic, New York no wave, Serge Gainsbourg, etc. Collectively drawing from a large pool of cultivated musical training, they have created a passionate, urgent, and sometimes dangerous album. With tense interplay of grooves, drones, cutting electricity, and vocal vicissitudes, Ulan Bator continues to stretch and pull the boundaries of song structure. As always, it is hard to place their distinct sound in any one genre; however, this album further solidifies their place in the canon of European art rock like none other. Their highly acclaimed Young God release Ego:Echo from 2000 still maintains a cult status among music lovers. Amaury Cambuzat's solo work as well as his live collaborations with Faust and other luminaries of the European scene have kept him extremely active, and Ulan Bator has reemerged to make their best album yet. "One of the best French bands in the last 300 years!" --Michael Gira (Swans)

ALLEVIATED RECORDS

FINGERS INC.: Another Side 3x12" (ML 9001LP)31.00DJ-friendly gatefold triple 12" version. Includes four vinyl-only tracks. First official vinyl edition since the original 1988 release. There's maybe a handful of albums from the early Chicago house era that really deserve the term "classic." This is one... Another Side is the 1988 debut album by Fingers Inc., collecting early singles released on Alleviated, Trax, and D.J. International together with nine new tracks. Larry Heard teamed with singers Robert Owens and Ron Wilson to create an album that still sounds fresh and ahead of its time decades later. Going beyond the dancefloor, the trio lyrically touched on subject matter ranging through love, sex, war, and the music industry while creating the blueprint for deep house music for years to come. Heard's deep, melancholy, almost skeletal tracks not only influenced the early pioneers of Detroit techno, but a whole generation of producers. This masterpiece is now officially available again in remastered sound.

ANALOG AFRICA (GERMANY)

VA: Senegal 70: Sonic Gems & Previously Unreleased Recordings from the 70's CD (AACD 079CD)22.00Analog Africa, in partnership with Teranga Beat (the current leading label for Senegalese music), proudly offers an insight into the musical adventures that were taking place in the major Senegalese cities during the '60s and '70s. This compilation reflects the unique fusions of funk, mbalax, son cubano, and Mandingue guitar sounds that transformed Dakar into West Africa's most vibrant city. The creation of Senegal 70 began in 2009 when Teranga Beat founder Adamantios Kafetzis travelled from Greece to Senegal to digitize the musical treasures he had discovered in the Senegalese city of Thiès -- reel tapes recorded by sound engineer Moussa Diallo, who had spent the previous four decades immortalizing bands that performed in his legendary Sangomar club. Three-hundred Senegalese songs that nobody had ever heard before were discovered; five of them were selected for this compilation, and appear alongside seven other tracks from the era, all compiled by Analog Africa founder Samy Ben Redjeb in cooperation with Kafetzis. Thanks to its history of outside influences, Senegal -- the westernmost country in Africa -- became a musical melting pot. Urban dance bands swiftly embraced son montuno from Cuba, jazz from New Orleans, and American soul tunes, intuitively merging them with local styles. The seminal Afro-Cuban group Star Band de Dakar formed in 1960, and the 1970s brought a new generation of stellar bands, including Le Sahel, Orchestre Laye Thiam, Number One de Dakar, Orchestra Baobab, Dieuf-Dieul de Thiès, and Xalam 1, who fused traditional Senegalese percussion instruments with organs and keyboards. Dakar soon began attracting international stars. The Jackson 5, James Brown, Tabou Combo (Haiti), Celia Cruz (Cuba), and an array of African stars like Tabu Ley Rochereau (Congo), Manu Dibango (Cameroon), and Bembeya Jazz (Guinea) joined in with the local scene, improvising jam sessions and bringing new flavors to the vibrant community. Senegal 70 includes a comprehensive 44-page booklet attesting to the decades of transformation that led to modern Senegalese music. Featuring biographies of music producers and a legendary record cover designer, as well as the life stories of all the groups represented here, the booklet also includes a fantastic selection of never-before-seen photos. Includes tracks by Fangool, Orchestre G.M.I - Groupement Mobil D'Intervention, Orchestre Bawobab, Le Sourouba de Louga, King N'gom et Les Perles Noires, Orchestre Laye Thiam, Amara Touré et le Star Band de Dakar, Le Tropical Jazz, and Gestü de Dakar.

ARBITER

BRAHMS, JOHANNES: Recaptured by Pupils & Colleagues 2CD (ARB 163CD)22.00Recorded 1889-1959. First publication of recently discovered lost recordings! For too long, Brahms has been damaged as a sacred cow mounted on a pedestal. Arbiter's newly discovered live and private performances allows all to closely approach Brahms, including a funky improvisation by the composer himself from 1889 -- witness a style more Harlem than Hapsburg. Nearly all the musicians heard here were in contact with Brahms and play his works as new music; jazzy, as if created on the spot. His lost language is fully revealed here for the first time through their sounds and words. Brahms's pupil Carl Friedberg, who appears here, even taught Nina Simone, who carried on their tradition. Extensive recorded excerpts from Friedberg's lessons to Bruce Hungerford are accessible on Arbiter's website; a duo performance by Friedberg and Hungerford is included here. Performers include pianists Johannes Brahms, Carl Friedberg, Edith Heymann, Marie Baumayer, Ilona Eibenschütz, and Etelka Freund; and the Trio of New York with Friedberg, piano; Danil Karpilovsky, violin; and Felix Salmond, cello. Composers include Brahms, Chopin, Schubert, Beethoven, Schumann, Bach, and Bartók.

ART YARD (UK)

GEERKEN AND CHRIS TRENT, HARTMUT: Omniverse Sun Ra Book (ARTYARD 001BK)72.00Revised and expanded second edition of Hartmut Geerken and Chris Trent's comprehensive reference Omniverse Sun Ra, originally published in 1994. Full-color 304-page hardcover book. French fold cover with metallic silver foil blocking on cyan faimei cloth. 290mm x 245mm portrait. Omniverse Sun Ra features many previously unpublished photographs of Sun Ra and His Arkestra in New York in 1966 and Germany in 1979 by Val Wilmer, and Hartmut Geerken's previously unpublished photographs from Heliopolis in Cairo, Egypt, in 1971, in addition to an updated comprehensive pictorial and annotated discography by Chris Trent, including chronological discography and alphabetical record title, composition, personnel, and record label indexes, as well as indexes of shellac 78RPM records, 45 RPM singles, jackets, and labels. Also includes essays and photo documents by Hartmut Geerken, Chris Trent, Amiri Baraka, Robert L. Campbell, Chris Cutler, Gabi Geist, Sigrid Hauff, Karl Heinz Kessler, Robert Lax, and Salah Ragab.

VA: Beatdown House Compilation V. 2 2LP (BDH 011LP)21.00"Label-owner and crew-founder DJ Clent emerged in mid-'90s with releases on Dance Mania and DJ Slugo's Subterranean Playhouse imprint; he's since released on Juke Trax, Halsted Street Entertainment, Blank Mind, and Planet Mu, and released his first full-length, Last Bus to Lake Park, on Duck n' Cover Records in 2015. DJ Roc started producing in 2001 and DJing in 2005, dropping a series of Juke City CDs via his friend DJ Slugo, then breaking out with his 2010 The Crack Capone album for Planet Mu, and the 2015 follow-up, Practice What U Preach, for Duck n' Cover. DJ T-Rell is a relative newcomer to the international scene; his contributions here follow two digital EPs and a feature on the digital-only Beatdown House Compilation V. 1. DJ C-Bit is another newcomer to the international scene, also featured on Beatdown House Compilation V. 1."

BORN BAD RECORDS (FRANCE)

VA: Chebran: French Boogie 1980-1985 CD (BORNBAD 077CD)14.50In the early '80s in France, the happy-go-lucky gathered the nectar of each and every new release. Believing in a bright future for videotex and loosened up by budding pirate radio stations, the new generation dreamt of dancefloors and holiday clubs. French Boogie, which preserves the spirit of these years of boodle and bunkum, is the ideal soundtrack to their dreams. What has come to be called "French boogie" is a form of synthetic funk reflecting the spirit of those days when everything seemed possible. In popular clubs such as La Main Bleue in Montreuil or L'Echappatoire in Clichy-sous-Bois -- where Micky Milan could be seen behind the decks -- an enthusiastic audience discovered this post-disco sonic wave, influenced as much by French pop as by The Sugarhill Gang or Kurtis Blow. In this myriad of new musicians, the very young François Feldman and Phil Barney pioneered a fresh musical hybrid. Other well-known artists like Gérard Blanc from Martin Circus (Attaché Case), Richard de Bordeaux (Ich), and Jean-Pierre Massiera (Anisette, Pirate Club, Mandrake, Groupe Scratch Man) added an eccentric touch. Singers like Agathe (the author of "La Fourmi" (included here) and of the hit song "Je ne veux pas rentrer chez moi seule") were far more than just window dressing, giving an ironic and subversive twist to this rather harmless genre. But by 1984, French boogie was already breathless, and merged with other genres; on the one hand, rap and breakdance adapted its flow to a more urban world, especially with Dee Nasty's broadcasts on Radio Nova, and on the other, Italo, new beat, and house began to rule dancefloors. Squeezed between the age of disco and that of modern electronic music, French boogie was a transitional phase, but it remains an amazingly refreshing testimony to the intermingling of pop and underground cultures. The genre was hastily categorized as anecdotal in spite of its pioneering synthetic groove and matchless basslines. An attentive ear will discover the poetry of the ephemeral beyond the eccentricities of the genre, as well as a certain unexpected avant-gardism. At the origin of major music trends, always cheerful and catchy, French boogie is what you need to party. Includes tracks from 1980-1985 by Interview, Krootchey, Gérard Vincent, Style, Pierre Edouard, Casino, Bianca, Trigo & Friends, Hugues Hamilton, Pascal Davoz, Anisette, Pilou, Henriette Coulouvrat, New Paradise, Ich, Attaché Case, and Yannick Chevalier. Includes 24-page booklet.

LONELY WALK: Teen CD (BORNBAD 078CD)12.50In the beginning, Lonely Walk was a post-apocalyptic and personal digression created by Mickaël Appollinaire (Monsieur Crâne, Strasbourg). Based in Bordeaux, Southwest France, he smoked out the blogosphere by releasing several digital EPs between 2010 and 2013. The Satanic Royalty label released V.I.H.S., Lonely Walk's first LP, in 2013, and it was well-received by the critics. NGHTMR followed in 2014, and a more personal album called BORE appeared later the same year. All these secluded compositions came on stage radically changed with the addition of a five-piece live band, which counted Alice Ronzini from J.C. Satàn on bass and Johan Gustafsson from Black Bug among its ranks. Teen, Lonely Walk's first album recorded with the live band, was recorded in Mikrokosm Recording Studios in Lyon, France. Dark, addictive songs of hypnotic post-punk slumming it with pop and making a few psychedelic stops, led by obsessive singing with catchy slogans. Happy, innocent children shout because school's out ("Burial Tomb") and the epic violin of Tamara Goukassova shreds the toxic atmosphere ("War," "Black Dragonfish"). To cut a long story short, Lonely Walk takes us right to doomsday, but not the one we dread. The one we crave, eyes wide open and dilated pupils, drinking a nice cheap cocktail of liquid nitrogen. One might recall Clinic, The Soft Moon, or A Frames, but one must look toward Australia to find cousins to Lonely Walk in bands like Eddy Current Suppression Ring or Total Control. The album artwork, representing a one-eyed skull hiding its shame behind hands, was conceived by graphic designer Greg Vezon.

BUREAU B (GERMANY)

CLUSTER & ENO: Cluster & Eno CD (BB 029CD)14.502016 re-release of Bureau B's 2009 reissue. Originally recorded and released in 1977 on Sky Records, the first collaborative album by Brian Eno and Cluster was the first ambient record produced in Germany, and is considered the seminal, defining work of the genre. Brian Eno was certainly instrumental in creating and popularizing the concept of "ambient music" -- but it was not his invention alone. The German musicians Hans-Joachim Roedelius and Dieter Moebius (Cluster) were brothers in spirit. As so often in music, the idea of ambient was in the air -- both Eno and Cluster experimenting with the form in the 1970s, rendering any debate as to who influenced who redundant. What is certain, is that Brian Eno attended a Cluster concert in Hamburg in 1975, strategically positioning himself in the front row. Sure enough, he was invited on stage to jam with the band and, after the show, the participants arranged to meet up again. They did so two years later at the Old Weserhof in Forst, the domicile of the German duo. Eno and Cluster spent three weeks in Conny Plank's studio, resulting in two albums: Cluster & Eno and After The Heat (1978). In the liner notes, Asmus Tietchens (who also plays on the record along with Can's Holger Czukay) writes: "Clearly, all three musicians inspired each other during their three weeks together without any clash of personalities. Nevertheless, some tracks sound more like Cluster, some more like Eno. So it made perfect sense to collect the tracks with a Cluster flavor on Cluster & Eno." The importance of this record can never be overstated, nor can its elegance of diverse forms be matched. From Indian sitar and tamboura, to synth warbles and airy tributes to Western groove, it is a rare glimpse at what happens when masters meet.

ENO/MOEBIUS/ROEDELIUS: After The Heat CD (BB 030CD)14.502016 re-release of Bureau B's 2009 reissue. Originally released in 1978 on Sky Records, After The Heat was the second collaborative release by Brian Eno with Dieter Moebius and Hans-Joachim Roedelius (Cluster). Produced once again by Conny Plank, After The Heat is a suite of micro-managed organic and electronic instrumentation that features recited and sung vocals by Eno on 3 tracks. As Asmus Tietchens writes in the liner notes: "Cluster & Eno can, with the benefit of hindsight and without overstating its case, be seen as the first ambient album to have been produced in Germany. The second LP, After The Heat, is, however, a completely different story. Whilst Cluster & Eno bears the hallmark of a Cluster composition guided by Eno's ambient concept, After The Heat is more of an Eno album bearing stylistic characteristics of Cluster music." Sweet, slow-moving and airy, with a modern classical/prog appeal.

CLUSTER: Sowiesoso CD (BB 039CD)14.502016 re-release of Bureau B's 2009 reissue. The fourth full-length album by legendary German electronic music duo Cluster, originally released on Sky Records in 1976. Sowiesoso follows on from their most highly-acclaimed album, Zuckerzeit (1974). Michael Rother's influence was clearly audible on the latter, Cluster already having recorded two albums with him under the name of Harmonia. 1976 saw the duo looking for new musical forms. More than any other Cluster album, Sowiesoso represents the utopian vision of Hans-Joachim Roedelius and Dieter Mobius, its mellow transparency evoking the landscape of the Weser Uplands where the two musicians lived at the time. Sowiesoso is not the work of fanatic dreamers who have fled the metropolis, but the reward for their tenacious search for a new musical language. The LP's seven cuts were recorded in their own studio with modest equipment -- a four-track tape machine, two Revox A77 stereo tape-decks and a simple 8-channel mixer. Cluster were thus completely independent, able to work where and when they wanted, at their own pace. With no guest musicians, sound engineers or producers to accommodate, Cluster thrived on their new-found autonomous freedom. Sowiesoso captures them at the peak of their creative development, with the limited range of recording equipment enhancing the clarity of their vision, allowing them to concentrate on the music without drifting into narcissistic muso territory. Minimalist, yet neither formulaic nor automated, the album is a rhythmic tapestry of otherworldly electronic and acoustic elements -- relaxed, organic and gentle ambience. This could only be Cluster music; its harmonies reaffirm the quality of song, in spite of eluding song structure as such.

CLUSTER: Sowiesoso LP (BB 039LP)25.002016 re-release of Bureau B's 2009 reissue. LP version. The fourth full-length album by legendary German electronic music duo Cluster, originally released on Sky Records in 1976. Sowiesoso follows on from their most highly-acclaimed album, Zuckerzeit (1974). Michael Rother's influence was clearly audible on the latter, Cluster already having recorded two albums with him under the name of Harmonia. 1976 saw the duo looking for new musical forms. More than any other Cluster album, Sowiesoso represents the utopian vision of Hans-Joachim Roedelius and Dieter Mobius, its mellow transparency evoking the landscape of the Weser Uplands where the two musicians lived at the time. Sowiesoso is not the work of fanatic dreamers who have fled the metropolis, but the reward for their tenacious search for a new musical language. The LP's seven cuts were recorded in their own studio with modest equipment -- a four-track tape machine, two Revox A77 stereo tape-decks and a simple 8-channel mixer. Cluster were thus completely independent, able to work where and when they wanted, at their own pace. With no guest musicians, sound engineers or producers to accommodate, Cluster thrived on their new-found autonomous freedom. Sowiesoso captures them at the peak of their creative development, with the limited range of recording equipment enhancing the clarity of their vision, allowing them to concentrate on the music without drifting into narcissistic muso territory. Minimalist, yet neither formulaic nor automated, the album is a rhythmic tapestry of otherworldly electronic and acoustic elements -- relaxed, organic and gentle ambience. This could only be Cluster music; its harmonies reaffirm the quality of song, in spite of eluding song structure as such.

KLUSTER: Zwei Osterei LP (BB 111LP)25.002015 repress; vinyl version. Zwei Osterei is the second half of a recording session which took place on a single day in November 1970. Klopfzeichen is the first part. Yet the uncompromising Zwei Osterei surpasses the earlier Klopfzeichen album by some distance in terms of its harsh noisiness and near brutal sonic attacks. Everything that was left of the revolutionary verve of the late 1960s seems to have been distilled into this music with a burning glass: aesthetic destruction to liberate the mind and ears for utopian designs; the definitive coalescence of art and pop into something completely new; unbridled musical freedom, coupled with a love of noise. Zwei Osterei is all of this. How unsettling Kluster's music must have been for the professional avant-garde of the period (music journalists, critics etc.). Kluster turned pretty much everything associated with so-called progressive pop music on its head. No song structure, no rhythm, little more than muffled pulsation. No heroic poses, no transfigured gestures on stage. This attitude, or rather anti-attitude is particularly in evidence on track two of Zwei Osterei. Still no electronic instruments, just guitar, drums and non-musical sonic sources as Kluster unleash a sound spectacle which anticipates the industrial artists who emerged some years later. Conny Plank played a pivotal role as sound engineer with the relatively limited studio equipment available to him. His meticulous reading of the band's intentions led to the creation of pure, electroacoustic music -- loud, violent, real-time improvisation. Shrill feedback, tape echo loops and layers of sonic cascades dominate this section of the album. This was no longer psychedelic, nor "progressive." It was more like sonic warfare, waged against all musical categories and conventions. Many a listener posed the rather helpless question "What is that supposed to be??... art? Music? A happening?" According to statements made by the band, none of the above. It was simply Kluster. A lofty claim which Zwei Osterei fulfills one hundred percent. Translated, the statement is nothing more nor less than a challenge to ignore the accumulated theory of art and music, with all the risks and side effects this entails. Back in 1970, Kluster could not have known that they were setting in motion a process which would endure until the present day. But they no doubt hoped as much.

BURIED TREASURE RECORDS

VA: Rare Psych Moogs And Brass: Music From The Sonoton Library 1969-1981 LP (BUTR 005LP)31.002014 release. "Germany's Sonoton library remains one of the largest independent production music companies in the world. This compilation focuses on psychedelic grooves, synthesized funk and big band belters produced for Sonoton between 1969 and 1981. Founded in 1965 by Rotheide and Gerhard Narholz, Germany's SONOTON library remains one of the largest independent production music companies in the world. This compilation focuses on psychedelic grooves, synthesized funk and big band belters produced for Sonoton between 1969 and 1981. Many of the featured composers also worked for other libraries - John Fiddy for KPM & Bruton, Walt Rockman for Studio One, Sammy Burdson for Conroy & Colorsound and Claude Larson for MFP. Compiled by audio archivist & electro producer Alan Gubby (Revbjelde / Jung Collective) who also produced the BBC Radiophonic Workshop compilation The John Baker Tapes on Trunk. Rare Psych, Moogs & Brass is the first album release on Buried Treasure & a must for collectors of dusty grooves, moog-tastic funk and psychedelic jazz."

CEDARPHON (LEBANON)

VA: The Groovy Sounds of 1970s Lebanon LP (CD 001LP)17.50Beirut, Lebanon's beautiful capital city on the Eastern Mediterranean waterfront, was once hailed as "the Paris of the Middle East," until a brutal civil war began in 1975; the country was all but destroyed by the time the violence ended many years later. During the early 1970s, the center of the Middle East's music industry was located in Beirut. Many great artists flourished in its nightclubs and recording studios as the city became the entertainment playground for the entire Arab world. Some of the greatest Arabic musicians and performers of the 20th century were either living there or frequently passing through -- legends like Fairuz, Sabah, Farid El Atrache, Omar Khorshid, Taroub, the Rahbani Brothers, and many others. This album, which features some of these legends along with others who are less well known, showcases the breadth of musical styles flourishing in Beirut. Arabic pop yeh yeh, Latin jazz, orchestral groove, folk rock melancholia, surf guitar, and a host of beguiling approximations on every genre of the time, yet all singular in their Arabic, cosmopolitan flair. These tracks represent a magnificent period when, for a brief number of years, Beirut was the place to be. Performers include the Bandali Family, Filmon Wehbi, Elias Rahbani, Ziad Rahbani, Taroub, Nabil Abdel Ali, Sabah, Mike Hegazi, and Georgette Sayegh.

CINEWAX

STENZEL, KURT: Jodorowsky's Dune (Original Motion Picture Soundtrack) CD (CINE 806CD)15.00"First time release. Liner notes by composer Kurt Stenzel. Original artwork by Nick Stewart Hoyle. This is the soundtrack to the story about the greatest film that never was. Jodorowsky's Dune tells the tale of cult filmmaker Alejandro Jodorowsky's unsuccessful attempt to adapt Frank Herbert's classic sci-fi novel, Dune, to the big screen. Composer Kurt Stenzel gives life to a retro-futuristic universe as fantastic as Jodorowsky's own vision for his Dune -- a film whose A-list cast would have included Salvador Dalí, Orson Welles, and Mick Jagger in starring roles and music by psychedelic prog-rockers Pink Floyd. Building upon director Frank Pavich's idea for a score with a 'Tangerine Dream-type feel,' Stenzel lays out a cosmic arsenal of analog synthesizers that would make any collector green at the gills: among other gems are a rare Moog Source, CZ-101s, and a Roland Juno 6, as well as unorthodox instruments like a toy Concertmate organ and a Nintendo DS. 'I also played guitar and did vocals,' says Stenzel, 'some chanting... and some screaming, which comes naturally to me.' The score also features narration by Jodorowsky himself. As Stenzel notes, 'Jodo's voice is actually the soundtrack's main musical instrument -- listening to him was almost like hypnosis, like going to the guru every night.' This highly-anticipated soundtrack LP was sequenced and mixed by Stenzel with the listener in mind and flows through a 'four-sides' LP approach. 'I wanted it to play like the records I grew up with, where every side was a journey.'"

STENZEL, KURT: Jodorowsky's Dune (Original Motion Picture Soundtrack) 2LP (CINE 806LP)27.00Double LP version in deluxe Stoughton tip-on gatefold jacket. Includes download code. "First time release. Liner notes by composer Kurt Stenzel. Original artwork by Nick Stewart Hoyle. This is the soundtrack to the story about the greatest film that never was. Jodorowsky's Dune tells the tale of cult filmmaker Alejandro Jodorowsky's unsuccessful attempt to adapt Frank Herbert's classic sci-fi novel, Dune, to the big screen. Composer Kurt Stenzel gives life to a retro-futuristic universe as fantastic as Jodorowsky's own vision for his Dune -- a film whose A-list cast would have included Salvador Dalí, Orson Welles, and Mick Jagger in starring roles and music by psychedelic prog-rockers Pink Floyd. Building upon director Frank Pavich's idea for a score with a 'Tangerine Dream-type feel,' Stenzel lays out a cosmic arsenal of analog synthesizers that would make any collector green at the gills: among other gems are a rare Moog Source, CZ-101s, and a Roland Juno 6, as well as unorthodox instruments like a toy Concertmate organ and a Nintendo DS. 'I also played guitar and did vocals,' says Stenzel, 'some chanting... and some screaming, which comes naturally to me.' The score also features narration by Jodorowsky himself. As Stenzel notes, 'Jodo's voice is actually the soundtrack's main musical instrument--listening to him was almost like hypnosis, like going to the guru every night.' This highly-anticipated soundtrack LP was sequenced and mixed by Stenzel with the listener in mind and flows through a 'four-sides' LP approach. 'I wanted it to play like the records I grew up with, where every side was a journey.'"

CIRCUS COMPANY (FRANCE)

FREAKS: Stuff We Forgot Vol. 1 12" (CCS 096EP)12.50Three gems from the extensive archives of Freaks (Luke Solomon and Justin Harris), who should need little introduction to anyone with even a passing interest in the weirder end of good-time party-ready house music. On "Shrunken Heads (One Pro Mix)," the rock-solid foundations of filter house music collide with flamboyant synth noodlings for a truly cosmic result, while the slower, deeper groove of "Absolut Zero" is peppered with oddball effects-tweaking. The soulful sample licks of "Funk You (Who Do You Trust Dub)" wriggle and writhe through a laid-back atmosphere that shows off the range Freaks have sported since the mid-'90s.

CLERMONT MUSIC

SUMRRA: 5 Viajes / 5 Journeys CD (CLE 015CD)12.00Winners of the Best Jazz and Improvisational Music Award at Spain's 2014 Premios Martín Códax da Música, Sumrrá are pianist Manuel Gutierrez, bassist Xacobe Martínez Antelo, and drummer L.A.R. Legido. The most exciting trio on the Spanish jazz scene today, their performances express assured conviction and a sound filled with dynamism, lyricism, and humor. Coming together informally at first in the summer of 2000, these three superb musicians have built a solid understanding of each other's voices. That instinct combines with superb technique to inform their music with a freedom of improvisational invention. Sumrrá have had a consistent trajectory in the music scene in Spain. In addition to their many concerts throughout the Iberian Peninsula, Sumrrá have also performed to great applause internationally during tours in France, Bolivia, Bulgaria, and South Africa. In September 2015 they performed at the famed Tanjazz festival in Morocco. These musicians share a passion for improvisation and open musical form. As bassist Xacobe Martinez Antelo puts it, "The truth is that we do not take any model... Our way of working is about compositions... and that marks the development of the trio, our roles, and our sound." 5 Viajes / 5 Journeys is Sumrrá's fifth album. CD includes one extra track.

CLOCKTOWER (CANADA)

KING TUBBY: Dancehall Style Dub LP (CT 098LP)11.002015 repress. "Bringing out his best in these fine tracks.Out of the vaults of Clock Tower has appeared these fine dub mixes such as 'Asian Roots Dub,' 'His Easy Dub', 'I Yah Who Dub' and many, many more.... you will be drawn into the rhythm and feelings of a culture far surpassing music into the future."

SCIENTIST: Heavy Metal Dub LP (CT 124LP)11.002015 repress. Recorded at Channel One Studio in 1982. Tracks include "Having Fun With The Klingons," "Rocking Time Warp Dub," "Jah Love All Aliens," "Conversation With Kahn" and "Smerf Wak Head Beat."

CALE & TERRY RILEY, JOHN: Church Of Anthrax LP (COL 30131HLP)20.002015 repress. Terry Riley (piano, organ, soprano saxophone) & John Cale (bass, harpsichord, piano, guitar, viola, organ) collaborated on this one-off album, released in 1970. At this time, rock music was a serious movement, removed from the joke it once was, quite unaware of the joke it would eventually become, and things like this sometimes happened. Cale, classically trained on the viola, must have been pretty pleased to get a shot to record with the '60s king of minimalist pulse, Terry Riley. The album features 4 collaborative tracks between the two; while maybe not earth-shattering, they are quite fine for horizontal home listening pleasure at just about any hour of the day. Instrumental jams, mixing the styles of the two players pretty evenly (if you're vaguely awake, you can imagine this easily). The fifth track is a psychedelic pop masterpiece by Cale, "The Soul of Patrick Lee." Exactly why this track is included here has never been adequately explained, but it is about as beautiful as music in song form can get. 180 gram exact repro reissue.

BIRD OF PARADISE: Baal 12" (CORR 038EP)12.00Bird of Paradise follows a stirring appearance on 2015's Correspondant Compilation 03 (CORR 002LP) with "Baal," a simultaneously mournful and driving track laden with bipolar melodies, reverbed drums, and an almost liquid bassline. "And the Half Light" manages the uncanny trick of being at once tear-jerking and eminently danceable. "Brothel Drummer," with which Man Power first introduced Bird of Paradise to Correspondant founder Jennifer Cardini, makes use of a generous helping of new wave pathos. Lauer's remix of "Baal" recalls an electronic pop find from 1986, with a sense of playful lightness that retains the pull on the listener's heartstrings.

DELL'ORSO RECORDS (UK)

BUTTERFLY CHILD: Futures CD (EDDA 037CD)14.50Anyone with affection for treasure of a particularly luminous dream-pop vintage will know about Joe Cassidy and his alias Butterfly Child. Having recorded three albums and a handful of EPs in the '90s, Cassidy returned in 2012 with the No Longer Living In Your Shadow 7". Now, the first Butterfly Child album since 1998 is here. Futures is a radiant 54-minute journey invested with Cassidy's usual melodic richness -- both musical and vocal -- and a more widescreen production, though the album was recorded at Cassidy's LA home. Sonically, the album lives somewhere between The Beach Boys and dream pop, but with a much more direct emotional impact, between bliss and melancholy. It combines new songs with previously unreleased older material, reaching as far back as Cassidy's very first demos as a teenager. The lush, sun-dappled climes of LA can be felt in the expansive folds and grooves of Futures, both on the softer, heartache-y side and on pop-centric songs such as "A Shot in the Dark" and "Holding On." "Holding On" was inspired by a string loop that Guy Sirman of Dell'Orso Records sent to Cassidy, which reminded him of Dionne Warwick, though the eventual track was inspired by Jimmy Webb and Glen Campbell. This being LA, Cassidy could call on his pals Justin, James, and Christiaan, Webb's three sons, to add backing vocals, while Campbell's son Cal plays guitar and percussion. The track also features drummer Matt Walker (also on "A Shot in the Dark") and keyboardist Brian Liesegang. Other Futures guests are Ryan J Rapsys of Euphone (drums), Pendle Poucher (a Butterfly Child accomplice back in the '90s, on "glitch" guitar), Merritt Lear (another Butterfly Child accomplice, and Assassins co-singer, on violin and backing vocals), and Oliver Kraus (strings and horns on the exquisite finale "Beauty #2"). The album is released in advance of a single featuring a remix of "A Shot in the Dark" by Assassins producer Stephen Hague (also of Pet Shop Boys and New Order fame). "All I can do is hope that people out there are into slow heartache music, and will get it!" says Cassidy. Having waited since 1998, Cassidy might only wait another year for the next album: "I told Guy, I have a great Phil Spector-style pop record here! There's little point in repeating myself."

DICRISTINA

BUNYAN, VASHTI: Just Another Diamond Day LP (STEP 004LP)19.002015 restock. Deluxe gatefold vinyl edition. "With a book of lyrics and artwork, updated by Vashti herself. Additional poster included, unique to the North American edition. This vinyl reissue of Vashti Bunyan's lone 1970 solo release features contributions from British folk royalty including members of Fairport Convention and preeminent producer Joe Boyd."

DIYNAMIC (GERMANY)

OST & KJEX: Freedom Wig CD (DIYNAMIC 013CD)15.50Norwegian duo Ost & Kjex have come a long way from their 2004 debut album Some, but not all cheese, comes from the Moon, with their acclaimed 2010 follow-up, Cajun Lunch, and many collaborations with such high-flyers as Solomun, Jamie Jones, and H.O.S.H.; they have grown to become one of the few acts that perfectly bridges the gap between underground electronic music and indie pop music. Five years after their 2010 second album, following lots of touring and working on their signature sound, the duo decided it was time for another album. Freedom Wig is laced with contributions from their contemporaries. Anne Lise Frøkedal, Hanne Kolstø, Jens Carelius, and Jaw (of dOP fame) donate their wonderful and distinct voices to the album, jazz legend Bugge Wesseltoft adds keys, and modern composer Ole-Henrik Moe contributes string arrangements, along with the Traces Gospel choir, Nasra Ali Omar (marimba), Tore Brevik (percussion), and Arild Hammerø (guitars). They all add their flavor to an album that is rich in tradition but still distinctly modern. From the jazzy intro of "Honky Tonk," through the must-dance bassline of "ChaChaCha" and the tropical wooden xylophone sound of "Down River," to the almost spiritual hums of "Easy," this album brings such rich detail that it demands multiple listens to discover all facets of its composition. Versatility is the predominant feature of this album, which mixes Ost & Kjex's soulful vocals with an upbeat electronica sound. On their continuously evolving path, Ost & Kjex have made quite a few stops at places that might sound familiar, such as fabric (London), Panorama Bar (Berlin), Watergate (Berlin), Kater Holzig (Berlin), The Villa (Oslo), Rex Club (Paris), Badaboum (Paris), Culture Box (Copenhagen), The Cat & the Dog (Tel Aviv), Destino (Ibiza), Beachouse (Ibiza), Indigo (Istanbul), and many more. In a scene that is ever so grim, it is quite refreshing to see someone with a wink and a smile on their face, and this is what Ost & Kjex have always been about -- bridging the gap between ecstatic live performances in sweaty nightclubs and the grandeur of not taking oneself too seriously.

DRONE (UK)

RICHARD FEARLESS: Overview Effect 12" (DRONE 005EP)12.50Richard Fearless delivers his third release on Drone, opening with "Overview Effect," a track of dubbed-out Detroit-esque techno with an epic two-and-a-half-minute string workout and a cognitive shift to pure Fearless magic. "Metal Dub" is stripped-down, metallic, hypnotic techno with haunting pads, and it's been smashing it in the darkest of rooms. A deep, heavy release on Drone. Precedes remixes by Luke Hess and DJ Richard.

VA: Where Will You Be Christmas Day? CD (DTD 002CD)12.00Obligatory Christmas restock! 24 Recordings from 1917 - 1959. "Following up last year's critically acclaimed Goodbye, Babylon box set, Dust-to-Digital is proud to announce our new Holiday Series, curated by musicologist Dick Spottswood. Based on his popular radio show in Washington, D.C., our series is initiated with a Christmas Gift, a compact disc full of rare yuletide gems. Just as Goodbye, Babylon showed the many sides of gospel music, this CD shows many sides of Christmas -- from Jesus born in the manger to Leroy Carr spending the holiday in jail. Some of the artists featured include Alabama Sacred Harp Singers, Butterbeans and Susie, Fiddlin' John Carson, Cotton Top Mountain Sanctified Singers, Lightning Hopkins, Los Jibaros, Kansas City Kitty, Lead Belly, Lord Executor, Maddox Brothers and Rose, and Bessie Smith. Together they provide a stark contrast to the commercialized Christmas we know today..."

ECHOCORD (GERMANY)

STL: Message of Sound EP - Part 2 12" (ECHO 067EP)12.00Stephan Laubner aka STL presents his fourth EP on Echocord. Laubner is mostly known from his own Something label; he has also released on Perlon, Sushitech, Styrax, Echospace, and Smallville. Message of Sound EP - Part 2 is the second of a two-part release, following Message of Sound EP - Part 1 (ECHO 066EP, 2015), and it contains three original STL tracks and two loops. "Nitetrain" is a beautiful, almost ambient, dubby tune; "Make Believe" is a powerful dubby house track, perfect for the dancefloor; and "Deep Stare" is an ambient chill-out track, with the typical STL atmosphere.

EDITIONS MEGO (AUSTRIA)

HOX: Duke of York CD (EMEGO 214CD)15.50Hox is Edvard Graham Lewis (Wire/Dome/He Said/He Said Omala/Ocsid) and Andreas Karperyd (Omala/He Said Omala/Woodwork). Duke of York is their second release following 1999's highly acclaimed it-ness. Duke of York is a bittersweet contemporary electronic pop record that could only exist as a result of the unison of these particular peculiar souls. At once tender, skewered, sophisticated, and unsettling, Duke of York is a both a journey through the collective minds of Lewis and Karperyd and a substantial representation of their individual talents. While both tackle the sonic side of the outing, Lewis also presents pleasantly paranoid lyrics and Karperyd drapes it all in a distinguished design. This combination presents a substantial study of the sonically impressive and visually inviting, with songs rich in brooding, dark atmosphere and melodic content. The production retains the mood of classic Lewis output while achieving a fresh and radical approach to electronics and studio production with Karperyd. Duke of York is another significant chapter in Lewis's distinguished and uncompromising career and adds to Karperyd's intriguing output. As with the best experimental pop records, Duke of York unfolds with repeated listening, revealing infinite charms. All tracks written, recorded, and mixed by E. G. Lewis and A. Karperyd in Sweden. Mastered and cut by CGB at D&M in Berlin.

EM RECORDS (JAPAN)

FASAWANG, KHWANTA: Lam Phaen Motorsai Tham Saep: The Best of Lam Phaen Sister No. 1 LP (EM 1145LP)22.00LP version. Includes insert. The best of Khwanta Fasawang, the number-one soulful sister of 1980s lam phaen, queen of the cassette era. She was chosen, from over a thousand demo tapes, by legendary producer and songwriter Doi Inthanon, who wanted to create a new streetwise dance music. The lam phaen genre was the result, and Khwanta Fasawang was the singer he chose to be its representative. Combining earlier musical trajectories with electronic elements and lyrics dealing with drinking and love, money and motorcycles, Khwanta led the cassette-format lam phaen boom of the early '80s, gaining great popularity in both her native Isan and across the whole country. A change in lyrical concerns and the use of electronics has parallels with Jamaican dancehall, and this music can be heard as one of the roots of lam sin, the Thai bass music that began in the '80s and '90s, but these recordings are not mere musicology. This is living music, and very fine music at that. Queen Khwanta, Sister Fasawang. She can't be denied. Selection, liner notes, and cover art by Soi 48.

EN AVANT LA ZIZIQUE! (FRANCE)

CRUDUP, ARTHUR "BIG BOY": That's All Right: An Introduction to the Father of Rock'n'Roll 10" (EALZ 3001LP)22.00Gatefold sleeve. En avant la Zizique!, in collaboration with Éditions du Trainailleur, presents a true immersion in old Chicago with the real father of rock 'n' roll! In 1954, a young truck driver cut a bunch of singles in Sam Phillips's famous studio in Memphis, Tennessee; "That's All Right Mama" was one of the songs recorded, and it ended up on the first 7" released by a certain Elvis Presley. Within few months, the latter's name was on everyone's lips as the record entered every jukebox in the country as well as radio stations, the rock 'n' roll wave inundating the culture of millions of Caucasian youngsters. Eight years earlier in Chicago, a blues singer from Mississippi, a straight guitar player with an exquisitely expressive voice, cut a personal creation titled "That's All Right," this after having made a first draft in 1945 under the title "Dirt Road Blues." Backed by a solid rhythm section, Arthur "Big Boy" Crudup had indeed, by doing so, signed the original of what later became a great rock 'n' roll standard. All the ingredients are already there -- the breaks, the riffs, the line-up, the chords, and the tempo -- confirming Crudup as the original composer of this tune. This devastating hit was so lucrative for Presley that he recorded two more of Big Boy's masterpieces -- "My Baby Left Me" and "So Glad You're Mine." There's no question of Presley's charismatic interpretation, or of his highly praised musical references. However, it is common knowledge that neither the king nor the producers nor the managers had made public the name of Arthur Crudup. With this release, the connoisseurs will once again recognize the magic of these post-war blues sessions -- and everyone else will definitely get hooked. That's All Right: An Introduction to the Father of Rock'n'Roll contains ten tracks from a forgotten hero without whom the rock 'n' roll revolution would surely have taken a different path.

MAURICE, CHARLES: Brazilian Disco Boogie Sounds Volume 2, 1977-1984: Selected by Charles Maurice CD (FVR 109CD)16.50Just one year after the 2014 release of the Brazilian Disco Boogie Sounds compilation (FVR 098CD/LP), Favorite Recordings presents the second volume of its acclaimed series. At the controls this time is French DJ and producer Charles Maurice (compiler of 2015's French Disco Boogie Sounds (FVR 101CD/LP)), digging again in his collection and travelling to Brazil for the occasion in order to find some local hidden treasures. The result comes as nine additional obscure hits from the Brazilian funk-boogie-disco scene of 1977 to 1984. At that time musicians and arrangers such as Lincoln Olivetti, Robson Jorge, and Oberdan Magalhães, along with Banda Black Rio, were responsible for the new music scene. They dominated the studios with sophisticated and original arrangements that have forever transformed Brazilian musical culture. This music, at that point, had gained a new style and great international respect that has remained ever since. Brazilian Disco Boogie Sounds Volume 2 pays tribute to this great era, with notes and original artworks. Includes tracks by Marcia Maria, Miss Lene, Brenda, Cristina Camargo, Lady Zu, Almir Ricardi, Rosana, Kaito, and Adriana.

MAURICE, CHARLES: Brazilian Disco Boogie Sounds Volume 2, 1977-1984: Selected by Charles Maurice LP (FVR 109LP)25.50LP version in deluxe tip-on sleeve. Just one year after the 2014 release of the Brazilian Disco Boogie Sounds compilation (FVR 098CD/LP), Favorite Recordings presents the second volume of its acclaimed series. At the controls this time is French DJ and producer Charles Maurice (compiler of 2015's French Disco Boogie Sounds (FVR 101CD/LP)), digging again in his collection and travelling to Brazil for the occasion in order to find some local hidden treasures. The result comes as nine additional obscure hits from the Brazilian funk-boogie-disco scene of 1977 to 1984. At that time musicians and arrangers such as Lincoln Olivetti, Robson Jorge, and Oberdan Magalhães, along with Banda Black Rio, were responsible for the new music scene. They dominated the studios with sophisticated and original arrangements that have forever transformed Brazilian musical culture. This music, at that point, had gained a new style and great international respect that has remained ever since. Brazilian Disco Boogie Sounds Volume 2 pays tribute to this great era, with notes and original artworks. Includes tracks by Marcia Maria, Miss Lene, Brenda, Cristina Camargo, Lady Zu, Almir Ricardi, Rosana, Kaito, and Adriana.

WAXIST: Caribbean Disco Boogie Sounds 1977-1982: Selected by Waxist CD (FVR 110CD)16.50"It's now pretty obvious that disco's powerful influence extended beyond western clubs to musicians all around the world, from France to Brazil, as Favorite Recordings proved with the previous volumes of the Disco Boogie Sounds compilations (FVR 098CD/LP (2014), FVR 101CD/LP (2015)). The islands of the West Indies are no exception. Indeed, in the late '70s and early '80s in the Caribbean territories, local musicians and producers seized on the sound of their US counterparts and made it their own, melding disco, funk, and boogie (even early rap) elements with some more traditional local styles. The significant size of the Caribbean diaspora in the US, Canada, and UK has also played a huge role in making those two musical worlds meet. The musicians of the Caribbean not only tried to reproduce US dance hits locally, but also bred their own version of disco. Apart from some obvious titles that made it to the charts ('Trinidad' by John Gibbs (1977), to name one), very few of these productions are widely known, played only by a handful of record collectors and DJs. Having grown up for most of my childhood and teenager years in a small island from the Indian Ocean, I was immersed in the 'sun & sand' vibes at an early age, which helped molding my musical tastes. If the sound of the Caribbean Islands is very different from the Indian Ocean's one, it's anyway no surprise that I have been attracted quickly by the West-Indies' 70s music productions, as a DJ and record collector. From an initial pre-selection of 40 tracks, Favorite Recordings and I teamed up to narrow down the actual tracklist. With no pretention to be exhaustive, this selection represents a tiny sample of a broader ocean of quality Caribbean Disco/Boogie tunes. It will take you to various places like Virgin Islands, Jamaica, or Trinidad, as well as a couple of Western major cities, where West-Indies diaspora is strong (New York, London). The soundtrack of this journey goes from Disco/Rap sounds, with the obscure 'Macho Man' by Eddie and the Movements, to weird Afro-Disco/Funk influenced songs, such as 'My African Religion' by Jamaican singer Paul Hurlock. Also featured here are a couple of personal secret weapons such as instrumental 'Bermuda Triangle' by Musicism, or 'Going to the Party' by Barry Bryson" --Waxist. Also includes tracks by Beres Hammond, Ray Williams, Oluko Imo, and Teddy Davis.

WAXIST: Caribbean Disco Boogie Sounds 1977-1982: Selected by Waxist LP (FVR 110LP)25.50LP version. "It's now pretty obvious that disco's powerful influence extended beyond western clubs to musicians all around the world, from France to Brazil, as Favorite Recordings proved with the previous volumes of the Disco Boogie Sounds compilations (FVR 098CD/LP (2014), FVR 101CD/LP (2015)). The islands of the West Indies are no exception. Indeed, in the late '70s and early '80s in the Caribbean territories, local musicians and producers seized on the sound of their US counterparts and made it their own, melding disco, funk, and boogie (even early rap) elements with some more traditional local styles. The significant size of the Caribbean diaspora in the US, Canada, and UK has also played a huge role in making those two musical worlds meet. The musicians of the Caribbean not only tried to reproduce US dance hits locally, but also bred their own version of disco. Apart from some obvious titles that made it to the charts ('Trinidad' by John Gibbs (1977), to name one), very few of these productions are widely known, played only by a handful of record collectors and DJs. Having grown up for most of my childhood and teenager years in a small island from the Indian Ocean, I was immersed in the 'sun & sand' vibes at an early age, which helped molding my musical tastes. If the sound of the Caribbean Islands is very different from the Indian Ocean's one, it's anyway no surprise that I have been attracted quickly by the West-Indies' 70s music productions, as a DJ and record collector. From an initial pre-selection of 40 tracks, Favorite Recordings and I teamed up to narrow down the actual tracklist. With no pretention to be exhaustive, this selection represents a tiny sample of a broader ocean of quality Caribbean Disco/Boogie tunes. It will take you to various places like Virgin Islands, Jamaica, or Trinidad, as well as a couple of Western major cities, where West-Indies diaspora is strong (New York, London). The soundtrack of this journey goes from Disco/Rap sounds, with the obscure 'Macho Man' by Eddie and the Movements, to weird Afro-Disco/Funk influenced songs, such as 'My African Religion' by Jamaican singer Paul Hurlock. Also featured here are a couple of personal secret weapons such as instrumental 'Bermuda Triangle' by Musicism, or 'Going to the Party' by Barry Bryson" --Waxist. Also includes tracks by Beres Hammond, Ray Williams, Oluko Imo, and Teddy Davis.

FEED THE MIND (UK)

VA: Everywhere Interferences CD (FTM 002CD)17.00Everywhere Interferences is the 1983 follow-up to Everywhere Chainsaw Sound (FTM 001CD/LP) and is rumored to have originated in France. Originally issued as a limited numbered edition of 190 copies, it is one of the earliest and rarest '60s US garage psych compilations produced at the dawn of the compilation LP explosion. This reissue features improved artwork along with the correct running order as well as additional liner notes and photos, filling an important gap in garage psych comp collections across the planet. "In a field full of weeds the earliest garage psych/punk compilations still possess a charm that endears them to collectors. Back in the early 1980s a number of now extremely rare compilations were briefly available via mail order. They almost immediately disappeared onto the shelves of a small but hardcore group of US '60s rock fans. Everywhere Interferences was the second volume of an extremely limited pair of compilations (the first being Everywhere Chainsaw Sound). Both originated in France and were produced microscopic numbered editions of only 100 or so copies. Housed in a plain white card sleeve with primitive artwork these compilations, to this day, remain almost unknown to the majority of '60s US garage psych collectors. Inspired by Elektra's Nuggets LP, 'grey area' compilations such as Pebbles, Boulders, and Acid Dreams (PAPR 1007LP/2094CD/2096CD/2097CD) created a demand for underground compilations that grew into the US garage rock reissue market that has since produced many thousands of records. An unceasing demand for music from probably the most exciting period of rock and roll has turned into a minor industry. Thankfully Everywhere Interferences is once again available with improved sleeve notes and sound. You may have some of these recordings on other compilations but somehow the mystery excitement and sense of discovery that fuelled the first era of the garage rock revival is captured on these iconic records" --Richard Allen, writes for Shindig!, founder of The Freak Emporium in 1991 (now under new management). Includes tracks by Clefs of Lavender Hill, White Lightning, Pied Pipers, The Baskerville Hounds, The Todds, Moonrakers, The Satisfactions, The Cavemen, and The Nomads.

FM3 (CHINA)

FM3: Buddha4 - Green Soundbox (BUDDHA04-GREEN)23.50Limited 2015 repress. Green-colored Buddha Machine. Buddha4. Groovy day-glo colors. Dreamy new loops! The Beijing-based duo of Christiaan Virant and Zhang Jian are back with Generation Four of the world's funnest, friendliest pocket loop player. The new Buddha comes in four eye-catching neon colors and sees the duo return to the quiet, kinetic tones which made their original machine an overnight sensation. Buddha Machine 1, 2 and 3 have won consistent praise in media worldwide, from sources a diverse as Pitchfork, The New Yorker and The Wall Street Journal. In his recent best-selling book How Music Works, David Byrne cites the Buddha Machine as an early glimpse into the future of music. And fans around the world continue to enjoy the device as a source of tranquil tunes and musical inspiration, with hundreds of remix works posted on Soundcloud, Bandcamp and other online outlets. Requires 2 AA batteries (not included).

FM3: Buddha4 - Orange Soundbox (BUDDHA04-ORG)23.50Limited 2015 repress. Orange-colored Buddha Machine. Buddha4. Groovy day-glo colors. Dreamy new loops! The Beijing-based duo of Christiaan Virant and Zhang Jian are back with Generation Four of the world's funnest, friendliest pocket loop player. The new Buddha comes in four eye-catching neon colors and sees the duo return to the quiet, kinetic tones which made their original machine an overnight sensation. Buddha Machine 1, 2 and 3 have won consistent praise in media worldwide, from sources a diverse as Pitchfork, The New Yorker and The Wall Street Journal. In his recent best-selling book How Music Works, David Byrne cites the Buddha Machine as an early glimpse into the future of music. And fans around the world continue to enjoy the device as a source of tranquil tunes and musical inspiration, with hundreds of remix works posted on Soundcloud, Bandcamp and other online outlets. Requires 2 AA batteries (not included).

FM3: Buddha4 - Red Soundbox (BUDDHA04-RED)23.50Limited 2015 repress. Red-colored Buddha Machine. Buddha4. Groovy day-glo colors. Dreamy new loops! The Beijing-based duo of Christiaan Virant and Zhang Jian are back with Generation Four of the world's funnest, friendliest pocket loop player. The new Buddha comes in four eye-catching neon colors and sees the duo return to the quiet, kinetic tones which made their original machine an overnight sensation. Buddha Machine 1, 2 and 3 have won consistent praise in media worldwide, from sources a diverse as Pitchfork, The New Yorker and The Wall Street Journal. In his recent best-selling book How Music Works, David Byrne cites the Buddha Machine as an early glimpse into the future of music. And fans around the world continue to enjoy the device as a source of tranquil tunes and musical inspiration, with hundreds of remix works posted on Soundcloud, Bandcamp and other online outlets. Requires 2 AA batteries (not included).

FM3: Buddha4 - Yellow Soundbox (BUDDHA04-YEL)23.50Limited 2015 repress. Yellow-colored Buddha Machine. Groovy day-glo colors. Dreamy new loops! The Beijing-based duo of Christiaan Virant and Zhang Jian are back with Generation Four of the world's funnest, friendliest pocket loop player. The new Buddha comes in four eye-catching neon colors and sees the duo return to the quiet, kinetic tones which made their original machine an overnight sensation. Buddha Machine 1, 2 and 3 have won consistent praise in media worldwide, from sources a diverse as Pitchfork, The New Yorker and The Wall Street Journal. In his recent best-selling book How Music Works, David Byrne cites the Buddha Machine as an early glimpse into the future of music. And fans around the world continue to enjoy the device as a source of tranquil tunes and musical inspiration, with hundreds of remix works posted on Soundcloud, Bandcamp and other online outlets. Requires 2 AA batteries (not included).

FRED RECORDS

FRITH, FRED: Field Days (The Amanda Loops) CD (FRA 008CD)16.00"14 pieces originally written for dance and other practical situations, here reassigned and reconstructed for choreographer Amanda Miller and the Nederland Dans Theater. These are loop-based, textural, mood pieces, and invocations of spaces and landscapes, with some fine steel guitar playing. Mostly this is Fred multi-instrumenting, with pianist Daan Vanderwalle, percussionist Willie Wynant, saxophonist Lotte Anker, the Arte Sax and Arditti Quartets, Kiku Day (playing occasional shakuhachi), and violinist/nykelharpist Karla Kihlstedt. Hit from the show: Desert Sundown. Field Days is an exploration of the past--in this case Fred's past as a composer of music for dance. Using music originally composed for choreographer Amanda Miller, and working with her and long-time studio collaborator Myles Boisen, Fred created a vast number of loops of all shapes and sizes, and used them as the setting for additional material that was also largely drawn from pre-existing recordings of other works. Fred then added bottleneck guitar to some of the pieces to provide a certain sonic continuity."

FRITH, FRED: Propaganda CD (FRO 013CD)16.00"Written for theatre in 1987 using a host of avian and mammalian voices, snippets of unidentified musical material and electroacoustic noise-sculpting - as well as invented and real instruments, all played by Fred. This was a hard time and the mood is intense, lean and not cheerful, though there are some gruesomely cheery inserts. No fat but a lot of meat. It is the 'missing' fourth side of the original double LP Technology of Tears, released in 1986. It was composed for a theatre production, created and directed by Matthew Maguire and Creation Company, which premiered at La Mama Experimental Theatre in New York. The play was described as 'political satire filtered through science fiction and John Webster's Jacobean revenge tragedy The Duchess of Malfi, and coincided with the US interventions in Nicaragua and El Salvador.'"

FREUDE AM TANZEN (GERMANY)

KADEN, MATHIAS: Energetic Remixes Part 1 12" (FREUDE 071EP)12.50Mathias Kaden follows his acclaimed 2015 second album Energetic (FREUDE 013CD/LP) with an EP of album remixes. On his remix of "Energie (feat. Rocko Schamoni)," Kompakt cofounder Michael Mayer induces euphoria from the track's calm conclusion by going far afield with the synth waves. Dresden's Cuthead, working at the intersection of deep house, soul, and hip hop, brings out a relaxed, dancing lightness with his remix of "Korokana." Redshape gives "Clarity" more drive as Sophie Taylor's vocals loop into the analog acid-inspired synth sounds. Nick Curly delivers hypnotic, elegant, minimal house with his remix of "Get Phunky (feat. Aquarius Heaven)."

FUNCTIONAL ORGANISATION (GERMANY)

PRURIENT: Annihilationist CD (FUNCTION 018CD)24.00"Annihilationist shows Prurient's instrumental ambient side; though it's littered with noises and frightening ruptures. The only audible trace of voice on Annihilationist is the word 'Japan'. Abstract voices and gasps of air bubble to the top of the dark water, as the hardest elements of industry like perverse atonal bass tones swinging back n forth like a pendulum in the underworld. Recorded in the hospital productions basement studio in lower Manhattan during a personal end of days, alongside long time collaborator Alberich at the abacus of additional synthesizer. Another sinking ship? Even though the Pacific ocean is the larger body, the Atlantic contains the darker waters. The corrupted and corroding dials and metals grapple under the pressure to wield their reports bound to the rhythm of the marine vessels. But this isn't the ambient of the destroyer or aircraft carrier. This is the ambient of the submarine. A twisted quiet crammed claustrophobia-ridden approach to 'linear electronics'. Minimal cacophony set to drones, crumbling barrages, surges of clatter and collapsing frescoes. Japan via Rome? Although no connection seems apparent between ancient Rome and imperial Japan, perhaps an echo of cataclysm richochets across the two great bodies of water and the echoes of destroyed empires are suspended in time. An imperative for the 'annihilationist worldview' upon which hell is skipped and god simply annihilates the souls from existing within the afterlife itself, let alone hell. Conditional electronic ambient industrial."

GIFT CERTIFICATES

GIFT CERTIFICATE: . GIFT CERT (GIFT CERT)10.00A reminder that we are able to offer gift certificates, just like in the 90s. They are available in $10 denominations, so, for example, if you want a $50.00 gift certificate, please order 5 x the $10 gift certificate. We deliver the gift certificates by email, so please include the recipient's name and email address along with any message you'd like to include in the comments field. If you'd like us to send it to you so you can print it out and present it to the recipient, just let us know. Your credit card will be charged for the amount of the gift certificate you wish to purchase; there is no additional fee or shipping charge. The recipient may redeem the gift certificate by quoting the gift certificate # in the comments box of our order form. PLEASE INCLUDE THE RECIPIENT'S EMAIL ADDRESS IN THE COMMENTS SECTION DURING CHECKOUT!!!

WHITE BIRCH, THE: Star Is Just a Sun CD (GR 854CD)17.00Rodge played keyboards and bass in The White Birch. Together with Hans Christian Almendingen and Ola Fløttum he released four albums and one EP between 1996 and 2005. After that the band disappeared, until Fløttum returned with the album The Weight of Spring in 2015 (GR 830CD/LP). Thirteen years before, The White Birch released its masterpiece, Star Is Just a Sun, on Glitterhouse Records. Keyboard spaces, piano melodies, soundscapes, a slow pulsating bass, and quiet drums, with Fløttum's warm, high voice adding even more gentle textures. The White Birch are from Oslo, Norway, and were musical comrades to Savoy Grand. It was the second wave of slowcore. Unlike their British label-mates from Nottingham, The White Birch spread out a warm carpet, on one side depressingly heavy and on the other gentle. Their sound was painted in a dark, blurry yellow, like falling leaves in autumn. Maybe Star Is Just a Sun could only have emerged in that period. A monument to silence. At that time print media was the gatekeeper to most music aficionados. It was word of mouth -- and occasionally blogs -- that spread the news of the existence of this new band. They brought pop into slowness. Like Mark Hollis's masterpiece The Colour of Spring (1986), Slint's Spiderland (1991), Codeine's Frigid Stars LP (1990), or even Savoy Grand's Burn the Furniture (2002), Star Is Just a Sun stands the test of time. A painting without darkness can't be warm and beautiful. Remastered from the original tapes by Helge Sten (Supersilent, Motorpsycho, Nils Petter Molvær). CD in digipak; includes booklet.

HARTE RECORDINGS

SUN RA: Space Is the Place CD/DVD/BOOK (HR 110CD)59.00"(125 Page book + DVD + CD) Harte Recordings is proud to announce the release of the 40th Anniversary Celebration of Sun Ra's Space Is The Place. This limited edition release will include a hardcover book, a DVD of the film with new producer commentary, and a CD of the soundtrack. It was forty years ago when Sun Ra's galactic-sploitation epic Space Is The Place was released to theaters around the USA. For the first time, Earthlings were able to look into the reality of Sun Ra; jazzman, alien, legend...spaceman. Space Is The Place is a movie beyond explanation, and yet it still remains one of the craziest, psychedelic, music-powered head-twisting fest ever to hit the theaters. NTSC all region, 153 minutes. DVD: Restored versions of both the original cut of Space Is The Place and the uncut version (both with remixed sound by Gary Hobish); New DVD commentary from producer Jim Newman; Sun Ra & Arkestra home movies. BOOK: Essays from screenplay writer Seth Hill and director John Coney; Forward by Wayne Coyne of The Flaming Lips; Interview with Ray Johnson (who played the Overseer in the film); Comments about the film from Arkestra members Marshall Allen and Danny Thompson; Dozens of never-seen-before photos, taken on and off set during the filming of the movie; Over 40 pages of commentary. CD: Soundtrack with two additional tracks added that were never present on the soundtrack release, but are in the film."

HIGH NOTE (CANADA)

CULTURE: Harder Than the Rest LP (FL 1016LP)11.002015 repress. "The string of albums Culture recorded during the late '70s contained some of the most reliably solid sets from the tail end of reggae's roots era. These early releases for the production team of Joe Gibbs and Errol 'E.T.' Thompson yielded the group's finest work? The typically excellent assembly of session men respond to such material with an appropriately light touch: the exemplary rhythm work of keyboardists Ansel Collins and Earl Lindo and guitarist Willie Lindo is kept under close watch by the great Sly Dunbar. The drummer's playing is effortless as he alternates the makeup of a particular pattern or subtly changes up the rhythm, heading into a chorus. Closer attention to the backing for tracks like 'Behold,' 'Tell Me Where You Get It,' and 'Vacancy' reveals the sort of strength, though subtle, that drives the best roots music." --All Music Guide

HONEST JON'S RECORDS (UK)

VA: Christians Catch Hell: Gospel Roots, 1976-79 CD (HJR 071CD)15.50In 1977 Henry Stone invited Thomas Spann down to Florida. Spann was founder and leader of The Brooklyn All Stars, one of the most celebrated gospel quartets in the US; Stone headed T.K. Records, the biggest independent record company in the world. The All Stars' contract with Jewel Records just happened to be ending. "He called me and asked me would I meet him in Miami," recalls Spann. "And I flew down to Miami, and I met him and we went to this place that sold all these motor homes. He said, 'Pick out one, pick you out one that you want.' And I did so. I drove it off the lot that same day. I didn't take a plane back. I drove that motor home back to North Carolina."Christians Catch Hell is a scorching, sublimely soulful survey of the Gospel Roots label, subsidiary of the mighty T.K. Records, at the height of the Miami Sound -- 1976-'79. Includes tracks by The Brooklyn All Stars, Pastor T. L. Barrett, Camille Doughty, The Howard Lemon Singers, The Fantastic Family Aires, Jean Austin & Company, The Jordan Singers, The Phillipians, The Fabulous Luckett Brothers, Bright Clouds, The O'Neal Twins, The Original Sunset Travelers, Reverend Edna Isaac and the Greene Sisters, and The Fountain of Life Joy Choir. Includes a glorious 40-page booklet containing thorough artist-interviews and rare photographs. Mastered at Abbey Road.

HOSPITAL PRODUCTIONS

CLAY RENDERING: Snowthorn CD (HOS 433CD)12.50Perhaps the most compelling of the many projects started by one-time members of Wolf Eyes, Mike and Tara Connelly's Clay Rendering came to life in 2013 and have since released a trio of singles for Hospital Productions that have gained them the admiration of followers spanning the electronic and metal communities. Their material occupies unique terrain, recalling The Cure's widescreen Disintegration-era instrumentals cut through with a black metal palette and an appreciation of electronic music that imbues their production (notably assisted by Dominick Fernow) with an end-of-the-world quality that's impossible to pin down. Evoking Nine Inch Nails one moment and inhabiting a smoke-filled, strobe-lit Road House the next, it leaves the listener bleary-eyed, head spinning, coming down. Guitar, accordion, piano, and electronics underpin the songs on their debut album, Snowthorn, opening with the whirling death march of "Maps on the Floor" and the funereal trudge of "Swallow the Century" before the grinding fuzz of "Sight from Up There" changes pace with the addition of a forlorn piano melody and Becka Diamond's distant vocal zooming in on half-remembered songs, rendered here with hazy definition. "Fall Off the Bed" and "Memory Loses Momentum" find Clay Rendering at their most visceral and catchy, a reminder that they are first and foremost a band that write incredible songs; often submerged in fuzz and atmosphere, here they are left exposed, bare, on display. And yet "Snowthorn," "River Without," and the incredible album closer "Night to Perish" edge the album from the bleak into the sublime, turning away from the snowy landscapes Clay Rendering so often evokes and pulling you instead deep into night. Mastered by Paul Corley and cut at Dubplates & Mastering, Berlin.

HOTSPUR (UK)

NEW GRASS REVIVAL WITH SAM BUSH: Live in Illinois 1978 CD (HS 1022CD)17.00In the 1970s, New Grass Revival were at the forefront of the progressive bluegrass movement, mixing contemporary folk, country, and rock influences into the music. Broadcast on WXRT in Chicago, this February 18, 1978 performance at the Amazing Grace coffeehouse in Evanston, Illinois with Sam Bush includes highlights from their first three albums. Also featured is a cover of The Beatles' "Norwegian Wood," which, like many of the songs, spotlighted their talent for extended instrumental passages within a bluegrass framework. The complete broadcast is presented here in digitally remastered sound with background liners.

IMPORTANT RECORDS

ELEH/TARA JANE O'NEIL: Split LP (IMPREC 430LP)25.50Sound sculptures and gongs by Harry Bertoia unite the sides of this split LP from Tara Jane O'Neil and Eleh. O'Neil's composition was commissioned by Venessa Renwick for her Medusa Smack video installation (originally screened in 2012 at the Oregon Biennial). The piece is partially created from sounds recorded by Bertoia on his own Sonambient sound sculptures, as well as O'Neil's recording of Athanasius Kircher's Bell Wheel at the Museum of Jurassic Technology. Eleh's side consists of 100 gongs synthesized on a Serge modular system to honor the 2015 centennial of Bertoia's birth. Vanessa Renwick recalls the conception of Medusa Smack: "In the '70s I was a bike messenger in Chicago and whenever I had downtime, I would hang out in front of the huge Bertoia sound sculpture outside of the Standard Oil Building. The winds off Lake Michigan whipped his masterpiece about, clanging and banging. Years later, in Oregon, I came across a small Bertoia sound sculpture, I clasped its rods together within my hands and released them. The exquisite noise they made immediately whispered Tara Jane O'Neil to me. I knew that someday I would make a film and Tara would incorporate this very noise into the score. Along came my idea to create a giant mother-jellyfish-shaped screen, the Medusa Smack, for people to lay beneath, with moon jellies and pacific sea nettles projected upon it. I asked Tara to create the score, and incorporate Bertoia's own sound recordings into it. Harry Bertoia's son, Val, granted his permission. This beauty to lull you away to the deep is the result." Packaged in deluxe letterpress-printed jackets. Edition of 700.

KEYHOLE (UK)

CAPTAIN BEEFHEART: Full Moon - Hot Sun Live in Kansas LP (KH 9070LP)23.00180-gram LP. Includes insert. Following the collapse of the original Magic Band in early 1974, Captain Beefheart swiftly assembled an all-new line-up to promote his controversial 1974 Unconditionally Guaranteed LP. Comprising Fuzzy Fuscaldo and Dean Smith (guitar), Del Simmons (sax, flute), Michael Smotherman (keyboards), Paul Uhrig (bass), and Ty Grimes (drums), they played in a markedly more straightforward style, in keeping with Beefheart's stated ambition to "hug the world." This fine gig, live from the Cowtown Ballroom, Kansas City, MO, was taped for broadcast on KUDL-FM radio on April 22, 1974, and is presented here in its entirety together with contemporaneous notes and rare photos.

KINGSTON SOUNDS (UK)

HOLT, JOHN: Before the Next Tear Drop CD (KSCD 060CD)14.00John Holt had one of the finest and most versatile voices to come out of Jamaica. His solo career covered pop and soul, not to mention a much-overlooked roots period, and he was the frontman of the great vocal group The Paragons, which he joined around 1965, singing many of their greatest hits including "Tide Is High," "On the Beach," and "Wear You to the Ball." John Holt (b. 1947, Kingston, Jamaica) was a child prodigy; he began his career as a regular voice on talent contests run by Vera Johns across Jamaica. He cut his first single in 1963 for Leslie Kong's Beverley's label and sang many duets with various singers of the day, including "Rum Bumper" with Alton Ellis. 1965 to 1970 were John Holt's Paragon years, a period in which he also ran solo with hits such as "Fancy Make Up," "A Love I Can Feel," and "Let's Build Our Dreams." Holt's 1976 album Before the Next Tear Drop was produced by Bunny "Striker" Lee, part of Holt's extremely productive period working with the legendary producer. It's filled with classic after classic sung effortlessly by Mr. Holt. First reissue. CD includes eight bonus tracks.

KLONDIKE RECORDS (UK)

ELLIOTT, RAMBLIN' JACK: San Francisco Bay Blues Live CD (KL 5030CD)17.00"Nobody I know -- and I mean nobody -- has covered more ground and made more friends and sung more songs than the fellow you're about to meet right now. He's got a song and a friend for every mile behind him. Say hello to my good buddy, Ramblin' Jack Elliott." --Johnny Cash, The Johnny Cash Show, 1969It's an endearment that has stuck close to the iconic Jack Elliott throughout his career, and ten years after that moment, we find the original ramblin' troubadour on the receiving end of yet further applause at the legendary Keystone Palo Alto. Before the onset of Elvis Presley, Bob Dylan, The Beatles, or Led Zeppelin, Ramblin' Jack Elliott had picked it up and passed it along. From Johnny Cash to Tom Waits and Bonnie Raitt, endless icons pay homage to Elliott, the greatest living, ramblin' troubadour who carries the seeds of story and song from one generation to the next. This performance allows another invaluable insight into not only his musical career, but also his life, and it would be impossible to imagine anyone not wanting to share in it. Klondike proudly presents the entire original KFAT-FM broadcast of Ramblin' Jack Elliott's performance at the Keystone Club, Palo Alto, CA, on November 12, 1979. Professionally remastered original FM broadcast with background liners and rare archival photos. A rare delight for fans of real roots music.

TOOTS AND THE MAYTALS: Sailin' On: Live at the Roxy Theater LA 1975 CD (KL 5036CD)17.00By the mid-'70s, the profile of Jamaica's largest and most successful export was chiefly headed by Bob Marley & The Wailers, with their exotic and exciting brand of Jamaican roots music. By 1975, the USA was grasping the phenomenon with the release of Toots & the Maytals' 1973 album Funky Kingston. It was a move that would inevitably open doors for the band and while they could never match Bob Marley or Peter Tosh's commercial appeal abroad, their significance and legacy in reggae music is unmatched. Riding high on their new recognition, Toots & the Maytals rolled into Los Angeles on October 1, 1975, performing a blistering set of new and old material. That night, the Roxy Theatre played host to an explosion of authentic Jamaican rocksteady reggae sounds in a show that recalls the legacies of James Brown, Otis Redding, Wilson Pickett, and Bob Marley's own appearance there in 1976. Klondike proudly presents the entire original KMET-FM broadcast of this performance, professionally remastered with background liners and rare archival photos.

KNIVES (GERMANY)

D'EON: Foxconn/Trios LP (KNV 003LP)18.00Foxconn/Trios is a previously unreleased work originally recorded by d'Eon in 2012 during d'Eon's involvement with the Hippos in Tanks label. The first eight (of nine) tracks roll, stab, and skip through d'Eon's arsenal of sounds, presenting a more singular vision than d'Eon's previous releases. Their nearest contemporaries can be found in the studies of Mark Fell, post-Oversteps Autechre, late-period Oneohtrix Point Never, and the work of Lorenzo Senni. In d'Eon's words, the tracks "freely and irregularly travel both forward and backward in MIDI-time. By putting together small arrangements using low sample-rate soundfonts in a tracker, and by writing short loops that are legible both forwards and backwards, the MIDI information can be traversed in any arbitrary direction at any arbitrary intervals and still be harmonically and contrapuntally sound. Ordinary rhythmic patterns are inherently legible regardless of the firing order of events because of a snare's inherent role as the up beat and a kick's as the down beat. If all notes in a phrase and all chords in a progression work equally well with their neighbours before them and their neighbour after, the direction of the clock is irrelevant. If those conditions are met, a 32-bar, two- three- or four-chord pattern with a single melody is easily made into a fully through-composed piece of music that could continue for hours without any pattern repetition at all." The many facets of the sound begin to unfold at the end, when the ninth and final track, "Foxconn II," leaves the album's dominant technique behind and rewrites the material into an instrumental R&B track. Though d'Eon uses the same method throughout the first eight tracks, the simultaneous occurrence of complex harmonic progressions produces a plethora of moods and reveals d'Eon's ability to combine the radically novel and original with the familiar and more tangible. d'Eon cinematically takes elements from the past and, with an elegant violence, rapidly animates them into the future, shaping the path toward what's to come. This is the third release on Kuedo and Joe Shakespeare's Knives label. Mastered and cut by Matt Colton. Artwork by Tobias Madison.

KOMPAKT (GERMANY)

ORB, THE: Moonbuilding 2703 AD 2LP (KOM 330LP)26.50New repress. Gatefold double LP version. Pressed on 180-gram vinyl. Includes CD. Iconic electronic music pioneers The Orb return to Kompakt with Moonbuilding 2703 AD, another major slice of psychedelic synth bliss, obscure loops, and deep ambient textures tossed in swinging breakbeats and powerful basslines. Installing a forward momentum rather unusual for a genre-defying project like this, the latest effort from masterminds Alex Paterson and Thomas Fehlmann follows their 2005 album success on Kompakt, the cheekily named Okie Dokie It's The Orb On Kompakt (KOMP 045CD/KOM 128LP) -- as well as several contributions to Kompakt's Speicher and Pop Ambient series -- but, more importantly, it finds the legendary duo at the peak of its creativity, ringing in another essential phase in what can only be called a groundbreaking career. True to form, Moonbuilding 2703 AD features a small track list, but turns each one of its four cuts into a mini-epic in its own right. Opener "God's Mirrorball" hits the ground floating, employing a handful of cozy statics to great effect before finally discharging into an intricate mosaic of atmospheric, melodic sketches and gripping rhythms. With a hypnotic runtime of more than 14 minutes, it immediately establishes a blueprint for the other album tracks to follow, perfectly illustrating the vast extent of the artists' vision and their impressive skills in luring in listeners -- welcome to The Orb's sonic labyrinth, where nothing is what it seems and the unexpected waits just around the corner. Likewise, follow-up track "Moonscapes 2703 BC" presents itself as a uniquely versatile affair sitting comfortably between ambient flourishes and beat-driven focus, holding as many twists and turns as a caper movie, but carefully grounding every single one of its cliffhangers in its impeccable flow. With a runtime of approximately nine minutes, "Lunar Caves" is the shortest jam of the bunch -- and also the most ethereal, keeping its rhythmic content to a bare, pulse-like minimum and opting for enticing, freewheeling synth textures instead. Album closer and title cut "Moonbuilding 2703 AD" introduces a surprisingly jazzy vibe mingling rather well with the wealth of electronic tricks up its sleeve -- even indulging in abrasive bass sweeps and a breathtaking multitude of different rhythm sections constantly switching places. It's a fitting closing act for a full-length as multifaceted as this, as idiosyncratic as possible and as muscular as needed. Cover design by iconic graphic wizards The Designers Republic.

CLARIAN: Mission to Bars 12" (KOM 347EP)12.00Clarian, of Canadian origin, has worked with Clockwork and Guy Gerber and written and produced as part of leftfield pop crew Footprintz, and fronts as A&R for Seth Troxler's Soft Touch imprint. With Mission to Bars, Clarian tells the story of a lost astronaut, an appropriately surreal plot for the throbbing sub-basses, twisted vocal samples, and rolling percussion. It's a deep but surprisingly jaunty offering of three highly playable club tunes brimming with left turns and idiosyncratic sound design.

3 CHANNELS: Speicher 88 12" (KOM EX088EP)12.00While well-established Polish DJ and producer duo Catz 'n Dogz is mostly known for bouncy, tongue-in-cheek house tunes, it was their precursor project 3 Channels that originally put them on the map. Starting in 2005, they enraptured scene pundits with releases on labels such as Trapez, Crosstown Rebels, and Dirtybird, presenting a particularly catchy definition of techno that would soon cross over into the uplifting, pop-infused style of their work since. With Speicher 88, Grzegorz Demiañczuka and Wojciech Tarañczuk return to their techno roots and drop two hypnotic, expertly layered exercises in sheer club momentum for monstrous impact on the floor.

LILITH (RUSSIAN FEDERATION)

BEATLES, THE: This Is... The Savage Young Beatles LP+CD (LR 305LP)23.002010 release. Riding the wave of the German beat craze of the early sixties, British singer Tony Sheridan became a regular on the Hamburg club circuit, recruiting an ever-changing roster of back-up musicians that included, in 1961, a nascent Beatles featuring John Lennon, Paul McCartney, George Harrison and Pete Best. Although still very much on the scene, bassist Stu Sutcliffe did not appear on these sessions. While most of the songs here are covers sung by Sheridan, Lennon and Harrison did write the instrumental ''Cry For A Shadow''. Hamburg is also where the Beatles first picked up the mop-top. Special gatefold edition.

CLUSTER: Zuckerzeit LP+CD (LR 333LP)23.002012 release. Originally released in 1974, Zuckerzeit marked a turning point for these seminal German space rockers. Recorded shortly after their move away from the metropolis of Berlin, it sees some of the abrasiveness of their earlier material slightly diffusing. With the addition of proto drum machines and the producing talents of Michael Rother, their sound here - while remaining firmly in anchored in experimental territory - has more pop sensibility. Newly packaged with the CD of the album.

CLUSTER: II LP+CD (LR 335LP)23.002012 release. Originally released in 1972, this is the second album by legendary German ambient pioneers Dieter Moebius and Hans-Joachim Roedelius. Moebius and Roedelius essentially create ambient electronic soundscapes that ebb and flow, droning on in a suspended world of anti-gravity where machine has conquered man. Now with bonus CD of the album.

VELOSO, CAETANO: Caetano Veloso LP+CD (LR 337LP)23.002012 release. Originally released in 1968, Caetano Veloso's debut album did for Brazilian music what the Beatles' Sgt. Peppers did for rock & roll, giving birth to the soon-to-be Tropicalia movement, which fused Brazilian music with pop, psychedelia and social awareness (and Veloso's leftist politics actually earned him a stint in jail in 1968 for 'anti-government activity'). Veloso, nonetheless went on to become one of the most popular and influential Brazilian musicians of all time. Includes the genre-defining classics "Clarice" and "Soy Loco Por Tì, América", "Superbacana", "Tropicalia" and "Alegria, Alegria". Now with bonus CD of the album and OBI "bookmark" Japanese style.

VA: Tropicalia: Ou Panis Et Circensis LP+CD (LR 340LP)23.002012 release. Originally released in 1969, this album is one of the most significant in Brazilian musical history, spearheading the musical Tropicalia revolution lead by Brazilian legends Caetano Veloso and Gilberto Gil, not to mention Gal Costa and mutant rockers Os Mutantes. Not only were the artists experimenting with the music, they were also making a very strong political statement that spoke out very harshly against the military regime in Brazil at the time. This album helped land Veloso and Gil a brief stint in jail and eventually in political exile in the UK. Includes bonus CD of the album.

MARLEY, BOB: The Lee ''Scratch'' Perry Masters LP+CD (LR 341LP)23.002012 release. Although their collaboration lasted for less than a year, Bob Marley and Lee Scratch Perry's joint efforts in the studio resulted in some of the most memorable moments in reggae history. From August 1970 to April 1971, Marley and Perry-with the help of Aston "Family Man" Barrett on bass, Carlton Barrett on drums, Reggie Lewis on guitar, and Glen Adams on keyboards-worked together at Randy Chin's legendary Studio 17 in Kingston, recording such classics as "African Herbsman", "Kaya", and "Duppy Conqueror", along with several dub versions. Bonus CD of the album included.

PAGE, JIMMY: Jimmy Page vs. Albert Lee LP+CD (LR 342LP)23.002012 release. Before becoming the driving force behind Led Zeppelin, guitarist Jimmy Page was a session man, hawking his talent to dozens of bands on the British beat scene, including this 1968 session for fledgling singer Keith De Groot's debut album. However, whatever talent De Groot had was swiftly eclipsed by the sheer force of his backing band, which included future Zeppelin bassist John Paul Jones, keyboard legend Nicky Hopkins and guitar hero Albert Lee, whose lightning fast licks and Fender Telecaster soon made him an icon of British rock. Bonus CD of the album included.

13TH FLOOR ELEVATORS: Rockius Of Levitatum PIC. DISC (LR 359LP)23.002014 release. This collection of live tracks gives those of us who weren't there during those halcyon days of psychedelia, a taste of just what lofty heights (and hellish depths) the Elevators were capable of reaching. The performances are taken from three sources: "Roller Coaster", "You're Gonna Miss Me" and "Tried to Hide" from a rockin' appearance on a local Dallas / Ft. Worth television show in the spring of 1966, "Don't Fall Down", "Kingdom Of Heaven", "She Lives In A Time of Her Own" and "I've Got Levitation" from a notoriously shambolic gig in Houston in 1967, and the remaining eight tracks from a series of stellar performances at San Francisco's Avalon Ballroom in autumn of 1966.

LION PRODUCTIONS

TIN HOUSE: Tin House LP + 7" (LION 140LP)30.00"Tin House were so good -- their music was a hard-rocking onslaught of lust, chops and powerhouse riffs that gripped like an alligator bite -- they were signed to Epic Records out of high school. They were respected by Leslie West and Johnny and Edgar Winter. Their album (released in 1971) was produced by Rick Derringer. But like other almost famous bands, Tin House fell away into unjust obscurity. Tin House's focus was on heavy rock like the sex-fueled opener, 'I Want Your Body,' and standout track 'Be Good and Be Kind,' with a catchy up-and-down, down-and-up riff played adeptly by guitar prodigy Floyd Radford, and a driving monster beat laid down by drummer Mike Logan; the song tears in as a fast as a Florida hurricane and sweeps the listener up into its vortex for two-and-a-half minutes of energized bliss. Yet the album also showed diversity: Radford's melancholy ballad 'Tomorrow;' the jivin' honky tonk of '30 Weight Blues' (a tribute to the band's 1962 Ford Econoline van); 'Lady of the Silent Opera,' which featured orchestration by seasoned studio musicians from New York City's Local 802 Union to underscore its positive message of 'look to the heaven -- smile to the blue sky.' This Lion Productions reissue includes everything Tin House recorded for Epic, including two previously unreleased tracks and the elusive (and unique) single versions of 'I Want Your Body' and 'Be Good and Be Kind' -- all taken directly from 24-bit/96kHz master tape transfers. Four panel insert has liner notes by Doug Sheppard (Ugly Things) and photos from the archive of drummer Mike Logan. Lean, fluid, tight, and the best hard rock album from the USA you probably never heard of (until now)!"

DEEP, THE: Psychedelic Moods of the Deep 3LP (LION 150LP)45.00"Expanded deluxe edition of The Deep's one and only album, originally released in 1966 and now well-established as a psychedelic classic. One night in a darkened Philadelphia studio, the Deep (Rusty Evans, songwriting partner and producer Mark Barkan, the legendary David Bromberg, whose credits include playing with Bob Dylan and many others, plus a bevy of talented musicians) laid down tempestuous garage punkers, sweetly-twisted ballads and ambiguous weirdness, all rife with hyper-psychedelic lyrical flashes of a rolling midnight expressway through the subconscious mind. A perfect representation of the psychedelic sound: free-form poetry, infectious drum beats, fuzzed out guitar, and playfully plucked bass (and vibes and tympani and so on), swirl together, coalescing into some of the most impressive psychedelic rock you'll hear. Cuts like 'Your Choice To Choose,' sound very Seeds-like or proto-Velvet Underground, Lou Reed snarl and all; others like 'Shadows On The Wall' and 'Wake Up and Find Me' are haunting acid ballads: the whole point of the album was to thoroughly explore the hallucinatory agony and ecstasy of a 12-hour Technicolor dream... although the end result is more amphetamine edgy than acid-soaked trippy. The Deep Psychedelic Moods pre-dates its closest kindred sprit in sound and energy (albeit not subject matter): The Velvet Underground and Nico came along five months later, and the world of music shifted on its axis -- but too late for the Deep. This 3xLP release of Psychedelic Moods is taken from the original four-track master tapes. In addition to the superlative master takes, there are three sides of out-takes and alternates from the Deep original four-track session tapes. This set also marks the vinyl debut of all known recordings by Inner Sanctum (aka Hydro Pyro), another LSD trip project produced by Mark Barkan in 1966. Tip-on gatefold art has liner notes detailing the mysterious rise and fall of this New York City band. Made with full co-operation of original Deep producers, Mark Barkan and Rusty Evans. A definitive example of the psychedelic sound."

VANAY, LAURENCE: La Petite Fenetre LP (LION 156LP)22.00"Jacqueline Thibault (Laurence Vanay) often worked for other artists at the legendary Château d'Hérouville studio as arranger, keyboardist, co-composer, and assistant sound engineer. Between sessions she sometimes managed to record her own music. Several years after her two acknowledged masterpieces, Galaxies and Evening Colours, she was able to bring together the tracks for La Petite Fenêtre (The Little Window). As the 1970's ended, trouble with the Château finances meant that again it was impossible for her to present her work to interested record labels. Instead, 'I worked in another recording studio in Paris for fashionable artists,' she said, 'and I managed after a time to resume and complete my unfinished songs.' By that time, the French record companies were not interested in instrumental music anymore. The recordings therefore found themselves asleep on Parisian shelves, pending potential better days. Sublime compositions: unique, melancholic and very powerful. First ever release of these late-70's recordings! Six-panel color insert with rare photos and Jacqueline's remarkable story. Limited to 500 copies, housed in a deluxe tip-on jacket."

ANGELO, MICHAEL: Michael Angelo/Sorcerer's Dream/Nuts 2CD (LION 680CD)15.00"Enigmatic exemplar of subterranean overachievers, Michael Angelo Nigro, has long been known to sound-hounds searching for esoteric figures on the fringe. He was a man out-of-time, with unerring vision and dedication, principally known for his head-of-the-class 1977 private-press joy, Michael Angelo (Guinn 1050 -- aka The Guinn Album). The Guinn Album, almost entirely an effort of self-creation, is a staggering, hook-filled, inner space hi-fi snap-shot of dreamy pop psychedelia, filled with contemplative, arresting lyrical imagery that etches lovely figures and carries little to ally it to its time. The same can readily be said of his other recordings of that era, the Sorcerer's Dream tracks, which make their CD debut here. Highly trippy acid guitar with a West Coast edge mingles with haunting melodic vocals, acoustic guitar, synths, gentle percussion and mystical songs; moments of oddness which are difficult to capture on tape, yet done so in an accomplished manner on these recordings. 'I began my recording career in 1975 by becoming a studio musician at Liberty Recording in Kansas City. Between recording commercials and backing other artists I started doing my own recordings. This was the birthplace of the original Michael Angelo album. After about a year, I left Liberty Recording to become a studio musician at Big-K records, also in Kansas City. By coincidence Big-K used the same type of equipment as Liberty, so I finished mixing the first album there. After that, I began recording my second album, which would become A Sorcerer's Dream. Although this album was completed in 1978, it was never released because Big-K closed down' --Michael Angelo. Michael Angelo is a true master of brilliant, spacey, endlessly melodic DIY pop psych. We have to admit, there's something magical about music that sounds like it was made in Anywheresville, Midwest, U.S.A., by a lone hermit painstakingly recording each layer of each song by himself in an empty studio. The end result? well, it's something like a less-produced Bobb Trimble. Much beloved in the world of psychedelia, and with good reason!"

MACHINE LIMITED

SPLIT SECS: React feat. Alona 12" (MACHINE 005EP)14.00"React" by LA duo Split Secs (Alexandre Mouracade (Sonns) and Travis Kirschbaum (TK Disko)) is classic deep house, with a pulsing bassline of which Marshall Jefferson would be proud and the ominous, extremely sexy spoken Italian vocals of Alona (40 Thieves). The first of two remixes by Indonesian producer Jonathan Kusuma is a driving house track that brings early Tommy Musto to mind; his second offering strays into darker territory with an acid-tinged bassline and rolling toms. Hardway Bros' remix toughens the original bassline even further, makes the beat stomp hard, and throws in some acid.

MADE OF CONCRETE (GERMANY)

COCK, STEVEN: The Kickomat EP (incl. Daniel Stefanik Remix) 12" (MOC 006EP)12.50Steven Cock presents his energetic The Kickomat EP. Introduced by a trippy, deep bassline and kicks surrounded by some light shakers, "Kickomat" steadily evolves until the characteristic hi-hat tightens the mix. With his remix, Daniel Stefanik puts the track into a more industrial background, highlighting different parts of the original. Lastly, there is the secret weapon "Aa2." Mechanical percussion rings through great halls, bringing up the formative chord accompanied by slightly disruptive synth elements. A drifting piece that definitely can be taken down to the misty floor.

MAEVE (GERMANY)

RIPPERTON: This, What Remains 12" (MAEVE 007EP)12.50The Maeve label, run by close friends Mano le Tough, The Drifter, and Baikal, presents Ripperton's This, What Remains, following Ripperton's excellent 2013 remix of Baikal's "Why Don't Ya?" (MAEVE 002EP). Two beautifully deep tracks that hit their hypnotic momentum when you let them run their full course. Epic burners for special moments.

VOID VISION: Sub Rosa CD (MNQ 054CD)14.00Digipak CD; edition of 300. Void Vision is a Philadelphia-based electronic project helmed by Shari Vari. It began as a duo in 2009 at a time when a wave of synth-revivalists was materializing, but the quality of the songwriting and intense vocals set the band apart from the pack. Void Vision has managed to combine vintage dance elements with melodic structures, haunting melancholy, and lyrics that have a palpable soul. The songs themselves are dynamic, referencing a cross-section of decades of electronic music, while simultaneously retaining a uniqueness all their own. Wierd Records' weekly club night in New York, which showcased a variety of talented electronic and coldwave artists, served as an incubator for Void Vision in its early stages, as part of a scene that also included Led Er Est, Martial Canterel, Xeno & Oaklander, Automelodi, and others. After a standout debut performance at the club, they immediately caught the attention of Blind Prophet Records, which consequently released their first 7" single in 2010, In 20 Years, which received excellent reviews. Shari Vari has continued performing and recording steadily since then, releasing songs on compilations for various labels including Rough Trade; in 2012 the song "Everything Is Fine" was selected for Artforum magazine's "Best of 2012" issue. In 2013, Void Vision toured the West Coast and later that year released a split 12" with Portland-based band Vice Device. Mannequin Records approached Shari Vari with the intention of continuing what Wierd Records started and giving shape to Void Vision's beautiful, youthful, dark electronic sound. The result is Void Vision's first official full-length album, Sub Rosa, a work of ten hypnotic, cold, analog tracks dominated by Shari Vari's fragile voice, with more pop-orientated songs sitting alongside others that belong more to the original coldwave atmosphere. Originally released as an LP in 2014. CD includes two bonus tracks including a remix by Vanzetti & Sacco.

MODERN CLASSICS

STONE ROSES, THE: The Stone Roses 2LP (MCR 914LP)34.00Black vinyl version on 180-gram double LP; housed in a Stoughton gatefold 'tip-on' jacket (no longer with gold foil cover). "Some albums hold the blueprint for something bigger than can be contained on twelve inches of vinyl; the self-titled debut album by The Stone Roses is one of them. Despite clocking in at less than fifty minutes long, it's a record that shaped the next two-and-a-half decades of British music. Released in 1989, The Stone Roses was a fusion of rock music and the nascent rave scene in the group's native Manchester. For a period of a few years, the industrial English city that gave us Joy Division, The Fall, and The Smiths was home to a drug-fuelled, club-based scene that earned the town a new nickname -- Madchester. Falling squarely in that point of transition, The Stone Roses created guitar music that made people dance, fostering the baggy scene that paved the way to Britpop and Manchester's next mega band, Oasis. The Stone Roses were the full package: they had the tough demeanor and insular mentality of any group of friends from a rugged city, they had a unique look comprised of bucket hats, Adidas sportswear, baggy jeans, and oversized T-shirts, and they talked a mean fight in interviews. But musically they were groaning with talent -- Gary 'Mani' Mounfied (bass) and Alan 'Reni' Wren (drums) made complex rhythms seem effortless, guitarist John Squire could give his beloved Jimmy Page a run for his money, and frontman Ian Brown balanced punk sensibility and hippy mentality. In the UK, the album is the stuff of legend, its cover still seen on T-shirts in any given gig venue. Around the world, its influence was less tangible, most likely due to the fact that the group was hamstrung by a legal wrangle with the Silvertone label following the album's release. Musically, it's a mix of the grandiose and the intimate, containing songs so forceful and emotive they've become terrace anthems ('This Is The One' is Manchester United's walk-on music) alongside introspective tracks like the anti-monarchy madrigal 'Elizabeth My Dear.' In 'Waterfall,' there are cascading guitar lines that describe its title like musical onomatopoeia, and in 'Made Of Stone' and 'She Bangs The Drum,' there are perfect pop songs too. Most significantly, there are songs in which the band etch their own myth in earth-rumbling basslines and grandiose statements: 'I Wanna Be Adored,' which opens the album, and 'I Am The Resurrection,' which closes. Reissued on Light In The Attic on deluxe double-vinyl, this is your chance to discover the album for the first time or to own it in its most beautiful presentation yet."

MUG-SHOT PRODUCTIONS

SUN RA: Sun Ra: A Joyful Noise DVD (MVD 7501DVD)19.00"Years ahead of his time, composer, keyboard player, bandleader, poet, and philosopher Sun Ra coupled images of outer space with those of ancient Egypt, acoustic instruments with electronic ones, and modern American musical genres (jazz, soul, gospel, blues, swing) with the sounds of Africa and the Caribbean. He also combined his music with dance, poetry, colorful costumes and backdrops, and pure theatricality, influencing other innovative musical ensembles as diverse as the Art Ensemble of Chicago, George Clinton's Parliament Funkadelic, and Frank Zappa's Mothers of Invention, and he was among the first musicians to use electronic keyboards and portable synthesizers in public performance. For his one-hour documentary, Sun Ra: A Joyful Noise, Robert Mugge spent two years shooting Sun Ra and members of his so-called jazz Arkestra in a wide variety of situations. Ensemble performances were filmed at Baltimore's Famous Ballroom, at Danny's Hollywood Palace in Philadelphia, and on the roof of Philadelphia's International House on the edge of the campus of the University of Pennsylvania. Sun Ra's poetry and mythological pronouncements were filmed in the Egyptian Room of the University of Pennsylvania's anthropology museum, in a sculpture garden in Philadelphia's Fairmount Park, in front of the White House in Washington, D.C., and inside and outside of the house he shared with key band members in the Germantown section of Philadelphia. Interviews with band members were filmed inside and outside of the house, as well as inside their nearby Pharaoh's Den food store, and a band rehearsal and a solo keyboard performance were filmed in the house as well. Transferred to HD from the original 16mm film and lovingly restored for the best possible viewing experience." Region: 0 format.

INSPIRESCU, PETRE: Vin Ploile CD (MUSIQ 051CD)17.00Since the release of his first EP, Tips, on Luciano's Cadenza label in 2007, producer and DJ Petre Inspirescu has emerged as one of the key figures of the Romanian electronic music scene, with releases on Vinylclub, Lick My Deck, Amphia, and [a:rpia:r], which he launched with his buddies Rhadoo and Raresh in 2007 as platform for them and other producers from Romania and elsewhere to release detailed, grooving house and techno with delicate structures and one-of-a-kind grooves. Both of his more dancefloor-oriented solo albums, Intr-o Seara Organica... (2009) and Gr?dina Oniric? (2012), are enlarged with melodies, sounds, and harmonies that go beyond the usual characteristics of a dance album. His love for classical composers like Mily Balakirev, Alexander Borodin, and Nikolai Rimsky-Korsakov can be felt in his album P?durea de Aur (Opus 2 in Re Major) (2011), released under his ?Ensemble alias on the Romanian Yojik ConCon label and intended to unite classical spheres with analog electronic music production. In February 2013 he released his highly acclaimed fabric mix CD, containing only his own productions (FABRIC 135CD). Petre Inspirescu now follows his 2014 debut on Mule Musiq, the Talking Waters 12", with Vin Ploile. Although he's established himself as an internationally in-demand house DJ, performing regularly at all the major clubs, festivals, and party destinations around the globe, Petre Inspirescu offers no easy rhythms, melodies, or harmonies on Vin Ploile. As a musician Petre Inspirescu always tries to explore the infinite space of sound with a heartfelt human touch. To create Vin Ploile, he combined piano, string, and wind instruments with analog electronics; a deep ocean of sound forms from live improvised sessions that were edited, tweaked, and mixed to perfection, with unusual analog synth sounds fluidly grooving with subliminal bass shapes, Latin percussion, jazz rhythms, and acoustic melodies. Together they create a gaseous kinetic atmosphere full of tangible rhythm patterns, delicate chords, and ghostly modular synth pads, all subtly mixed to create space for the tones between the tones. A hypnotic after-hours album dedicated to evoking a deep listening experience, with brilliantly textured arrangements of super-charged ambient sound that goes beyond the usual definition of the genre. These suspenseful compositions seduce with a deep melodic sensibility, delivering harmonic adventures and an overall rhythmic ambience of freshness and laid-back enthusiasm. Together they represent a challenging auditory experience that will resonate in your mind long after the music has finished.

MUSIC FROM MEMORY (NETHERLANDS)

CHERRY, NAPOLEON: Walk Alone LP (MFM 007LP)19.50The subject of Music From Memory's fifth compilation is the elusive and mysterious Philadelphian musician Napoleon Cherry (aka Cool Waters). Oddball funk biz! In the late '80s and early '90s Cherry privately released two LPs and an EP, which form the basis of this retrospective, alongside a previously unreleased cut, "When You Had the Chance," which was released as a 12" in 2015 by US label Peoples Potential Unlimited. Recorded with a very DIY aesthetic and a strong presence of gospel and RnB, Cherry's unique take on soul and funk music reflects a rawness that stands in contrast to the slick, over-produced soul of that era. With appearances by jazz musicians including the late celebrated saxophonist Byard Lancaster, who coincidentally also played with MFM's previous compilation subject Vito Ricci (MFM 005LP), Cherry's music seems to defy any clear categorization. From cocktail jazz funk to intergalactic synth workouts to melancholy bedroom soul, his use of synths and drum computers, though perhaps unknowingly, also seems to strongly echo elements of early house music.

S:VT: Urgency Grip EP 12" (MYTH 004EP)14.00Myth Music returns with the Urgency Grip EP by s:vt aka Sven von Thülen, including a remix from White Material's Young Male. The four-track EP shifts between pulsing bass tones, robo-rhythmic drum grooves, and sleek Detroit-inspired sequences, making it a perfect addition to the Myth Music family.

NO. (GERMANY)

RAW C + PHARMAKUSTIK: Anamorph Specimens CD (NO 304CD)19.50Limited edition of 200. If there is anyone left with a sci-fi vision of the future, it's Raw C and Pharmakustik. The pair, both of whom released solo work on No. in 2014 and '15, decided to collaborate on a full-length album titled Anamorph Specimens. The 50-minute masterpiece joins both artists' sonic universes in a perfect manner. Its six tracks are strange and dark, each pulsating in its own funky frequency. The artists state: "Anamorph Specimens focusses on the interaction between propulsive rhythms and organic ambient compounds morphing by realtime sound-processing. The wide screen-pictures appearing in the listener's mind constantly change and thus can be described as anamorph torsions of audio sculptures. All rhythms and ambient sections have been altered by various tools like notch-filtering, frequency-shifting and timestretching. Multidimensional textures from high to low in which sound events appear and disappear, animate the listener to perceive the tracks through different 'lenses'." All tracks written and produced by Cristobal Rawlins and Siegmar Fricke. Mastered by Atom TM. Artwork by Material Object.

WHITE SUMMER: White Summer CD (OSR 040CD)17.00White Summer's self-titled LP, a private pressing from 1976, reissued with original artwork for the first time. Progressive hard rock with psychedelic touches, melodic vocals, top-level musicianship, and stunning lead guitar. Originally from Benton Harbor, Michigan, White Summer was formed in 1973 by a trio of 18-year-olds who shared a mutual love for Hendrix, Cream, and Grand Funk, among others. They were Jim Watkins (drums and vocals), Rick Lowe (guitar and vocals), and David Wheeler (bass). White Summer played many shows at high school dances, outdoor festivals, and nightclubs, becoming one of the top rock acts not only in Michigan but also in Florida, where they relocated at the end of the '70s. White Summer's first album, known as the "White Album" due to its simple design, was recorded at Uncle Dirty's Sound Machine Studio in Kalamazoo, Michigan, by Bryce Roberson, who had formerly been an engineer at Chess Records. Self-financed by the band, 1000 copies were pressed and sold in the Michigan area. Sought-after by collectors worldwide, this is the first-ever reissue to feature original artwork. 24-bit domain professional remaster from a mint original vinyl copy (master tapes were lost). Includes insert with liner notes by original member James Watkins and a previously unseen photo. "This is the best band I have ever seen in a bar!" --Eric Clapton. "This is the longest I ever sat and listened to a band." --Neil Young

WHITE SUMMER: White Summer LP (OSR 040LP)25.50LP version. First-ever vinyl reissue. White Summer's self-titled LP, a private pressing from 1976, reissued with original artwork for the first time. Progressive hard rock with psychedelic touches, melodic vocals, top-level musicianship, and stunning lead guitar. Originally from Benton Harbor, Michigan, White Summer was formed in 1973 by a trio of 18-year-olds who shared a mutual love for Hendrix, Cream, and Grand Funk, among others. They were Jim Watkins (drums and vocals), Rick Lowe (guitar and vocals), and David Wheeler (bass). White Summer played many shows at high school dances, outdoor festivals, and nightclubs, becoming one of the top rock acts not only in Michigan but also in Florida, where they relocated at the end of the '70s. White Summer's first album, known as the "White Album" due to its simple design, was recorded at Uncle Dirty's Sound Machine Studio in Kalamazoo, Michigan, by Bryce Roberson, who had formerly been an engineer at Chess Records. Self-financed by the band, 1000 copies were pressed and sold in the Michigan area. Sought-after by collectors worldwide, this is the first-ever reissue to feature original artwork. 24-bit domain professional remaster from a mint original vinyl copy (master tapes were lost). Includes insert with liner notes by original member James Watkins and a previously unseen photo. "This is the best band I have ever seen in a bar!" --Eric Clapton. "This is the longest I ever sat and listened to a band." --Neil Young

MASON: Harbour LP (OSR 042LP)25.50Smokin' heavy rock with an early progressive sound and overtones of folk and blues from Virginia, 1971. Originally released on the Eleventh Hour label, which also released Polyphony's Without Introduction (OSR 024LP, 1971). Powerful vocals, loud guitar, flute, and killer Hammond organ -- think Deep Purple, Jethro Tull, Grand Funk... Master tape sound; includes repro of the original multi-page insert plus liner notes. "This is an interesting and diverse hard-rock album. If you can picture slow, organ-rich heavy prog, jazzy sax instrumentals, and snappy riff rockers, you'll have an idea of what you're in store for there. There's an air of professionalism usually absent from this kind of self-made records. 'Tell Me' has a fuzz guitar tone to die for." --Aaron Milenski, The Acid Archives

CW/A: Words Unspoken, Acts Undone 2LP (PAR 006LP)27.50The passing of time... what has been spoken is now unspoken. All that has been has been undone. CW/A present their remarkable debut album, Words Unspoken, Acts Undone. Since their inception CW/A have forged a path through the murky world of electronic music with a number of releases on Vakant, M_REC, and their own Parachute Records. Previously accomplished musicians in their own right, Thomas Feriero (Avatism) and Francesco Leali (Clockwork) joined forces in 2013 to begin a live project that took the act of performance into the club. Shying away from typical setups so prevalent nowadays, CW/A bring to the club a level of live performance that they've now translated into their first full-length. Weighing in at 11 tracks, the album demonstrates the duo's musical heritage of early Warp-style bass but also UK jungle and Downwards-influenced dub techno. This isn't an album that looks back with any misty-eyed nostalgia, though; it respectfully brings its '90s influences straight into 2015, seamlessly weaving from genre to genre with an up-to-date element to the production. If you're expecting an album of rave breaks or straight-up 4/4, you won't find it here, but if you're ready to leave behind what you've heard already, Words Unspoken, Acts Undone is for you.

PENULTIMATE PRESS (UK)

KSIEZYC: Rabbit Eclipse CD (PP 019CD)20.00Rabbit Eclipse is the second full-length recording from the legendary Ksi??yc, following their self-titled debut from 1996. The Moon never went away. The 2013 Penultimate Press reissue of Ksi??yc's timeless debut (PP 008LP) exposed the band to a large new audience, resulting in a return to live performance and the subsequent development of new material. Rabbit Eclipse was recorded in Warsaw from May through September 2015 within the idyllic Palladian palace Królikarnia ("The Rabbit House"). All original members gathered to conjure the peculiar hybrid of the ancient and the contemporary unique to the band. Rabbit Eclipse presents a rich and subtle environment of beguiling narratives hanging in suspended tension. This opens up an entirely new phase in the cycle of the band where an enchanting discrete musical continuum of rich and subtle sound excursions is enveloped in a mysterious melancholia. Another exemplary presentation from one of Poland's most idiosyncratic and respected outfits. Rabbit Eclipse is packaged in a four-page DVD-format inverted digipack. Edition of 500. Agata Harz: vocals, objects; Katarzyna Smoluk-Moczyd?owska: vocals, keyboards, objects; Lechos?aw Polak: accordion, keyboards, synthesizers; Remigiusz Mazur Hanaj: tapes, hurdy-gurdy, violin; Robert Nizi?ski: clarinet, keyboards, objects; Pawe? Roma?czuk: vielle, Stoessel lute, objects.

PHARAWAY SOUNDS (SPAIN)

VA: Cumbias Chichadélicas: Peruvian Psychedelic Chicha 2LP (PHS 029LP)33.00Psychedelic Peruvian cumbia and chicha from the archives of the legendary Infopesa label, 1968-1982. Alberto Maraví was the man behind the Peruvian Infopesa label. A key figure in the creation of Peruvian cumbia, he recorded and produced legendary bands like Los Mirlos, Los Orientales de Paramonga, Juaneco y Su Combo, Los Pakines -- all represented here -- and many more. Original records from the Infopesa label are now highly sought-after by collectors and discerning DJs worldwide, who marvel at the exotic mix of jungle sounds, reverb-drenched electric guitars, and delay effects. This double LP is the perfect introduction to this amazing and one-of-a-kind genre. All tracks have been taken from the original master tapes. Gatefold color sleeve with detailed liner notes by Alberto Maraví (in English and Spanish) with an exclusive introduction by Alex Kapranos (Franz Ferdinand) and rare photos from the Infopesa archive. Also includes tracks by Los Beta 5, Eusebio y Su Banjo, Manzanita y Su Conjunto, Los Rumbaney, Sonido 2000, Aniceto y Sus Fabulosos, and Los Invasores de Progreso.

PHOENIX RECORDS (UK)

LES RALLIZES DENUDES: Blind Baby Has Its Mother's Eyes LP (ASH 3035LP)22.002015 repress; LP version. Legendary Japanese rock outfit Les Rallizes Dénudés were formed in 1967 and incredibly, for a group that had only one official release (Oz Days Live, a double vinyl compilation release in 1973), played their last gig almost 30 years later in October 1996. The band's name apparently means "fucked up and naked," which more than adequately describes their music. Formed by band leader Mizutani Takashi, the music remained remarkably familiar over the years, and is best described as high volume, raw, lo-fi, repetitive, feedback-drenched guitar-noise fests with nods in the direction of The Velvet Underground and Blues Creation, but without the electronics. Radical left-wing politics were never far from the band's agenda, with one original band member (Wakabayashi) being involved in the Japanese Red Army's hijacking of a flight to North Korea. Consequently, the group's live appearances became less frequent and increasingly clandestine. All the band's albums were released in very small quantities, and because of the group's reputation for secrecy and violence, as well as the difficulty in tracking down their recordings, Les Rallizes Dénudés has assumed almost mythical status. Blind Baby Has Its Mother's Eyes sits at #11 on Julian Cope's list of top Japanese albums.

LES RALLIZES DENUDES: Heavier Than A Death In The Family 2LP (ASH 3037LP)31.002015 repress; 2LP version. Phoenix Records releases the oft-bootlegged Heavier Than A Death In The Family by legendary Japanese rock/psychedelic noise band Les Rallizes Dénudés. This "album" is in fact, a blistering assemblage of live performances (all recorded in 1977, except for "People Can Choose," which was recorded in 1973) which sits at an esteemed #3 position on Julian Cope's Japrocksampler top 50 list. Reverb so heavy, it will split your frontal lobe in two.

RER MEGACORP

RAVENSTINE, ALLEN: The Pharaoh's Bee CD (RER AR1)16.00"Allen Ravenstine, erstwhile eminence grise of classic-era Pere Ubu, was one of the best-integrated and least predictable pioneers of analogue synthesis in rock before he quit both public and musical arenas to pursue an entirely different career. But he never lost his interest in, or his feel for, analogue electronics; and so we have this, lapidary, limited-edition solo release which reaches back to the glory days of Princeton and Cologne in its acceptance, and celebration, of the almost human, frail, fallible, delicate and mysterious qualities of handmade analogue electronics. It was an invitation to contribute to I Dream of Wires: The Modular Synthesizer Documentary that led to the recording of an impromptu duo performance on EML-101 and 200 synthesizers, with current Ubu synthesist Robert Wheeler. A pair of albums: City Desk and Farm Report, were released from these sessions in 2013, after which, re-engaged, Ravenstine began to work in earnest on music. By the following June had enough material for a record -- this record, his first solo release, produced by William Blakeney, a Canadian lawyer, studio engineer and associate board member of the Electronic Music Foundation."

ARTAUD BEATS, THE: Logos CD (RER BAR004)16.00"Featuring Yumi Hara, Geoff Leigh, John Greaves and Chris Cutler. The band was convened after a chance encounter in 2010, at Jean-Herve Peron's Avant Garde Festival in Hamburg (3 days of Utopia) and has popped up here and there ever since. This is their first official release, recorded over 2 days at the University of East London, then edited and tweaked into shape over the next half year. Hard to pin down - some of it is obviously written, some obviously improvised - and then there are a lot of grey areas; it's a law unto itself really."

ANGELI, PAOLO: S'U CD (RER PA8)16.00"An amazing record. It's beautifully recorded and almost impossible to believe that such a layered and polyphonic music, with chords, percussion, lead lines, bass lines, harmonies, string sections and sometimes voice could all be produced by one person in real time, without overdubs or loops. But it is. The instrument, a specially designed and augmented Sardinian guitar (almost the size of a cello) is equipped with motors, pedals, individual string mic'ing, and extra appendages; and of course there are the usual pedal-driven effects, intelligently and sparingly used. It's a record - and a music - that defies all description, except to say that it's tuneful, inventive, surprising, harmonically rich, generically diverse and sonically jaw-dropping. A masterpiece. A few words about the guitar; Over time Paulo has significantly rebuilt a large traditional Sardinian guitar, adding sympathetic strings, foot operated hammers that strike the strings from below and built-in electric mini fans (he built a similar instrument in 2003 for Pat Metheny). It is played rather like a cello, vertically, spiked to the floor and often with a bow."

ROBOT

FERRARI, LUC: Presque Rien Avec Luc Ferrari DVD (ELICA 4290DVD)18.502008 release. The first DVD release on Elica is a beautiful 50-minute portrait of composer Luc Ferrari made by his friend Jacqueline Caux with Olivier Pascal, which is at the same time fully informative and acutely representative of Ferrari's spirit. Features Elise Caron and Luc Ferrari going through archive documentation, intriguing dialogues, invented autobiographies, music performances, evocative installations, sidewalk accidents, encounters with sound artist Christof Schläger and musician eRikm, and more. Documenting the work of one of the most groundbreaking and seductive composers of the 20th century, this film also shows Luc Ferrari's "extremely libertarian personality: his spontaneity, his inclination towards hedonism and sensuality, his curious and open character, his rejection of all kind of power and of all stable position within institutions, his pronounced taste for jeux, his sense of self-derision and his ferocious refusal of all dogmatism." Jacqueline Caux is a writer, film-maker, and organizer of live events. She is the author of the essential Luc Ferrari interview book Almost Nothing with Luc Ferrari (2002), as well as books on Anna Halprin and Louise Bourgeois and several experimental films and remarkable documentaries, including the highly acclaimed Cycles of the Mental Machine (2006) on Detroit techno, Tales from the Torn Symphony (2010) on the performance of Ferrari's Symphonie dechirée, and Man from Tomorrow (2014) on Jeff Mills. Olivier Pascal has collaborated with, among others, director Claude Duty. Original French version with English subtitles; NTSC region-free DVD in large format digipak cover with notes in French and English by Jacqueline Caux.

AEOLIAN STRING ENSEMBLE, THE: Lassithi/Elysium CD (ROBOT 016CD)14.001998 release. The first full-length release by the UK-based Aeolian String Ensemble. Although originally set to be issued on the legendary United Dairies label, this material was remastered and released in the US on Robot Records with an extra track. The work was produced by David Kenny, a long-time collaborator and engineer on many Nurse with Wound and Current 93 projects. Consisting of two evolving compositions, Lassithi (1992) and Elysium (a specially commissioned 1996 work), this CD offers a more linear and fluid overview of this fascinating material than that of excerpted or early compilation appearances. Inspired by the tonal phenomenon associated with the Aeolian harp (a box-shaped instrument with numerous strings tuned in unison on which the wind produces varying harmonic excitation over the same fundamental tone), The Aeolian String Ensemble's post production (harmonic extraction) on sounds generated by the strings of various materials, recorded at sympathetic locations, creates a hazy, shifting, and spacious atmosphere for your total aural immersion. Also features mind-bending cover illustrations by Christoph Heemann.

JACKMAN, DAVID: Up from Zero CD (ROBOT 031CD)14.002003 reissue. Originally released in 1982 on cassette (Aeroplane Records), Up from Zero was David Jackman's third album of compositions. Integrating tapes, loops, shortwave radio signals, guitar tones, voice, and a host of percussion elements, each piece accumulates into a complex collage of cycles that create a haunting set of "movements" and bizarre spatial relationships. These are the most sought-after of Jackman's first solo recordings. The proto-Organum sound. Also included is "Offshore" (1980). This track, recorded with the assistance of Philip Sanderson (of Storm Bugs/Snatch Tapes/Claire Thomas & Susan Vezey fame), is Jackman's earliest piece to appear on CD to date. Fluttering tones along with sustained slabs of bowed guitar create a droning crest and a fitting "outro" for these essential gems from the vault. Expertly restored from the original master tapes by Robert Hampson (of Main). Packaged in a card mini-jacket.

HOFFMAN, KAY: Floret Silva CD (ROBOT 034CD)14.002006 reissue. 1977 progressive avant-folk masterpiece from minimalist composer Kay Hoffman. Includes collaborative performances from Jacqueline Darby and Gaio Chiocchio, members of the legendary Italian progressive group Pierrot Lunaire. Originally slated for release on RCA/IT (Italy) in '78, the album was later rejected due to recording deadlines, release schedules, and requests by RCA for other artistic/musical considerations. However, many years later, Floret Silva did end up surfacing on a very different shore. Copies of the masters found their way to the highly eclectic Japanese label Belle Antique, whose musical director had heard rumors about the early project in the mid-1980s. As a result, Floret Silva was finally released eight years after the completed sessions in 1985 in a limited but very well-received LP edition. Apparently, not many copies of the record were exported outside Japan. This merely created even more mystery surrounding the recordings as well as rumors associated with a Pierrot Lunaire-related project. The recordings were based on Carmina Burana, a collection of medieval poetry written by various authors of which little is known. Floret Silva was an attempt to find a voice for these anonymous authors in the late 1970s in Florence. Available for the first time on CD with remastered sound, including a 12-page booklet with full lyrics and English translations. A lost (but now reclaimed) gem from the Italian progressive underground.

ORGANUM: Sanctus CD (ROBOT 035CD)15.002006 release. The first album in a mid-2000s trilogy, followed by Amen (2006) and Omega (2007), Sanctus represents the new architecture of the Organum sound. Recorded utilizing an implicit graphic score, the album comprises four discrete parts, each a variant of the others. These are not parts as in a movement or continuation of the composition, but rather four distinct audio canvases that represent a continuum of the elements at large. Composing in the spirit of the early Organum material, David Jackman has resurrected the drone-based, percussive turbulence of earlier years with a distinct new form of compositional systems. These new systems are scored for grand piano, Hammond organ, tower bell, and gong. While each element retains its distinct acoustic quality, the whole of each piece resonates with the art of its totality. The results convey an ecstatic sense of presence, vast expanse, and, ultimately, infinitude.

IN CAMERA: Open Air CD (ROBOT 036CD)14.002008 remastered CD edition of the 2006 second album by In Camera (a collaborative project by Christoph Heemann and Timo van Luijk). Open Air features very dynamic live material recorded outdoors, under the moon, in March 2004. Live improvisation integrating a stream of acoustic elements with continuous modulation. Packaged in a full-color digipak.

FERRARI, LUC: Archives Génétiquement Modifiées/Société II CD (ROBOT 039CD)15.002008 release. Two historic compositions by the late, great Luc Ferrari on CD for the first time. The program opens with Archives Génétiquement Modifiées ("Genetically Modified Archives"), a work for "memorized sounds" from 2000. This composition (subtitled "Exploitation des Concepts No. 3") was the third in a series of later pieces in which Ferrari revisited aspects of his early concepts and compositional strategies to create wholly new works. The result here is a very bizarre, sensual, and beautifully paced electroacoustic work of aural memories and (re)collections created sounds from Ferrari's vast archive of musical activities. After a short intermission, the program continues with a true highlight of Ferrari's early instrumental work titled Société II from 1967. Subtitled "Et Si Le Piano Était Un Corps De Femme" ("And If The Piano Were the Body of a Woman") (for four soloists and 16 instruments), this composition appeared opposite Presque Rien on the legendary 1970 Deutsche Grammophon LP. Société II may be viewed as an erotically charged piece of musical theater in which the soloists compete for the attention of a woman (the piano). This concerto, with its gestures and a fantastic kaleidoscope of styles and color, shows the extravagant qualities of the piano in its "harmony, imagination, and brutality." Packaged in a full-color digipak with a 20-page bilingual (French/English) booklet featuring Ferrari's early artwork, notations, and program notes, along with an extensive commentary by Jim O'Rourke and Jay Sanders. Remastered sound with audio restoration by fellow INA-GRM alumnus Jean Schwarz. A wonderful glimpse into the world of one of the most legendary, unique, and inspiring musical figures of the 20th century.

AF URSIN: Murrille CD (ROBOT 041CD)15.002012 reissue. A long-overdue CD edition of Timo van Luijk's first full-length album, originally released in 2002 as a small private edition LP on La Scie Dorée (Belgium). Murrille features a collection of extraordinary "songs" integrating a palette of acoustic instruments such as glass harmonium, flute, and hand percussion, as well as voice, with real-time synthesis. With a host of bizarre inflections and aural investigations, van Luijk's music recalls some of the great experimentation of early krautrock, the otherworldly atmospheres of the Futura label, and a pure love of the moments when it all just falls into place. This remastered edition sounds fantastic and includes an additional track not included on the original LP release. Mixed by Christoph Heemann. Packaged in Japanese-style tip-on mini-jacket that carefully reproduces the original album artwork.

LEJEUNE, JACQUES: Parages and Other Electroacoustic Works 1971-1985 3CD BOX (ROBOT 042CD)30.002013 release. This three-CD retrospective includes six compositions by French composer Jacques Lejeune (born 1940), totaling near three-and-a-half hours of music. Presented chronologically, these works for tape represent a stunning array of themes, images, and destinations covering the years 1971-1985. Throughout Lejeune's compositional development, dreams, reflections on the written fable, and mythological thinking all reappear. Originally released on LP by INA-GRM, both Parages and Symphonie au bord d'un paysage have been remastered and have never before been available on CD. Parages (1973) is a work exploring distances (or vicinities), cycles, and the transparency of the sky. A deep undercurrent of perpetual movement and altitude -- flight and fall -- is ever-present in the piece, encompassing a procession of auditory colors, places, and events. These elements multiply, uniting beyond their individual musical processes, further immersing the listener within an increasing auditory field. Symphonie au bord d'un paysage (1981) is a composition concerned with motion, panoramas, and geographical relationships -- all as if being at the edge of a vast chasm. Also included is Lejeune's masterwork, Blanche-Neige (1975). This has been regarded as one of the most peculiar and elusive recordings in the whole GRM-related canon. This early LP, also known as Fantasmes, was originally recorded for a theater/ballet production of the same name. Loosely based on the text by the Brothers Grimm, with its narrative symbolism and tale of the deep forest, Blanche-Neige is one of the finest compositions of cinéma pour l'oreille (cinema for the ear) for tape and electronics from the period. Cri (1971) is the earliest piece featured in the set, with an emphasis on the very nature of vocal expression. Integrating mixed landscapes and a spacious use of cyclical elements, this work offers a fantastic prelude to Lejeune's evolution as a composer. Additionally featured are Entre terre et ciel (1979) and Les palpitations de la forêt (1985). These two works are concerned with the natural world, labyrinths, clusters, and intermingled morphologies of the Earth. This box set includes a 28-page bilingual booklet (in English and French) with detailed program notes, as well as a 32-page booklet of interpretive stanzas surrounding these bizarre and evocative works. Meticulously translated and collected for the first time in print, these writings offer a rare insight into Lejeune's creative process. Parages and Other Electroacoustic Works 1971-1985 is an essential overview of one of the seminal figures in musique concrète.

KA-SPEL, EDWARD: Spectrescapes 1 & 2 (Limited Box) 2CD BOX (RBL 051BOX)29.00Packaged in a transparent brown bag; the CD comes with a print out of a lunar calendar as well as a necklace. "Edward Ka-Spel (The Legendary Pink Dots) pays homage to epic movements and experimental ambient music. With his warm and unique voice, Edward takes us on an extended journey outside of time itself."

KA-SPEL, EDWARD: Spectrescapes 2 CD (RBL 051CD)18.00"This is a concept album where Edward Ka-Spel (The Legendary Pink Dots) pays homage to epic movements and experimental ambient music. With his warm and unique voice, Edward takes us on an extended journey outside of time itself."

SIREENA RECORDS (GERMANY)

FREEDOM: Freedom at Last LP (SIR 4029LP)25.00"The British band Freedom founded in 1967, when after the huge success of Procol Harum's international hit 'A Whiter Shade Of Pale' two musicians, namely drummer Bobby Harrison and guitarist Ray Royer, left the band and just founded Freedom. They wanted to play harder progressive blues rock, as it was en voque then. After the soundtrack album Black & White to the eponymous film by Tinto Brass as well as two highly sought-after singles released only in Germany, 1970 appeared the first regular album of the band Freedom at Last. The album was created in the studio Orange in London with Bobby Harrison (drums), guitarist Roger Saunders and bassist Walter Monagham. Here comes the first release of this album on vinyl since 45 years. After two more albums that appeared on the legendary Vertigo label in 1972 still was concluded with the band. This album, which now appears on 180 gram heavy vinyl, offers 12 psychedelic tinged and heavy blues-rock songs in the for that time typical performing style that became a real British quality concept and gained by bands such as Led Zeppelin, Spooky Tooth or Cream worldwide reputation , Til today."

SOMMOR RECORDS (SPAIN)

BARE SOLE: Flash CD (SOMM 026CD)17.00Previously unreleased UK demo album from 1969. The loudest band from Hull in the '60s, Bare Sole played raw, in-your-face psychedelic hard rock and heavy blues. Bare Sole's brief existence at the tail-end of the 1960s reflected the realistic trappings of their geographical situation. Musical icons such as Mick Ronson and Robert Palmer would eventually rise to fame outside of their native Hull, but Bare Sole sadly only managed a handful of out-of-town gigs and a tour of US air bases in Germany. As it was, their entire existence lasted just over a year, but at least their inspired musical legacy has survived thanks to a 1969 recording session held at Fairview Studios. Assisted by writer and producer Keith Herd and galvanized by an enthusiastic local poultry farmer, Bare Sole captured their primitive garage mannerisms in one fiery recording session. Aside from Decca's rejection of their demo tape, Bare Sole continued playing alongside acts such as Family, Status Quo, The Move, and Small Faces, but the inevitable decision to quit came in 1970 and their story came to an end. Flash represents Bare Sole's entire recorded history, taken from the master tapes of their 1969 recording session. Their seductive garage romp boasts explosive doses of fuzz, wah-wah, and Farfisa organ, a sound that recalls an earlier and more primitive sound, but a sound that also may have unwittingly sealed their fate. Master tape sound. Detailed liner notes. Recommended for fans of Blue Cheer, Iron Claw, Stack Waddy.

BARE SOLE: Flash LP (SOMM 026LP)25.50LP version. Previously unreleased UK demo album from 1969. The loudest band from Hull in the '60s, Bare Sole played raw, in-your-face psychedelic hard rock and heavy blues. Bare Sole's brief existence at the tail-end of the 1960s reflected the realistic trappings of their geographical situation. Musical icons such as Mick Ronson and Robert Palmer would eventually rise to fame outside of their native Hull, but Bare Sole sadly only managed a handful of out-of-town gigs and a tour of US air bases in Germany. As it was, their entire existence lasted just over a year, but at least their inspired musical legacy has survived thanks to a 1969 recording session held at Fairview Studios. Assisted by writer and producer Keith Herd and galvanized by an enthusiastic local poultry farmer, Bare Sole captured their primitive garage mannerisms in one fiery recording session. Aside from Decca's rejection of their demo tape, Bare Sole continued playing alongside acts such as Family, Status Quo, The Move, and Small Faces, but the inevitable decision to quit came in 1970 and their story came to an end. Flash represents Bare Sole's entire recorded history, taken from the master tapes of their 1969 recording session. Their seductive garage romp boasts explosive doses of fuzz, wah-wah, and Farfisa organ, a sound that recalls an earlier and more primitive sound, but a sound that also may have unwittingly sealed their fate. Master tape sound. Detailed liner notes. Recommended for fans of Blue Cheer, Iron Claw, Stack Waddy.

STATIC CARAVAN (UK)

FREE SCHOOL: Dancing on the Dark CD (VAN 287CD)16.50Maximalist cosmic voyagers Free School have managed to create an album that explodes with color and scatters the industrial behemoth of Birmingham with rainbow sparkles. A huge-sounding album, Dancing on the Dark features a fearless band of shamanistic vocalists, effusing uplifting, stirring messages of hope in a time when hopelessness reigns supreme. Tomlin Mystic (Friendly Fire Band), a truly mysterious wise man who speaks in poetry, features on "Love Calling," the epic, cosmic second single. "French Cousins" has Free School's live vocalist Greg Bird (Mark E, Speech Fewapy Records) crossing boundaries that shouldn't be crossed. Sex-wise. Sigmund Frued, Birmingham's hottest young MC, fires state-of-the-city barbs to contrast with Greg Bird's hopeful yearning on "End Time Ministries." Disco stomper "Don't Make Your Life So Hard" takes a sample from free jazz classic "The Healer/Don't Break" by E.W. Wainwright and beautifully crescendos with soaring, caressing strings. Chilean Katy Prado plays the spurner to Tomlin Mystic's spurned lover on "Major Crimes." "Hudson's Whistle," the first single from the album, is a feel-good, hook-laden instrumental romp with melodies aplenty to tug on your heartstrings. "Good People" features the soft optimistic harmonies of Maps (Mute), while Greg Bird appears like an angel in the chorus to sing of endeavoring to change and improve. The album closes with the reprise of "Good People," rising from the ashes of the life-transcending "Ugly Kids" to burst into life. Free School have set sail for bolder territories with Dancing on the Dark. Free School signed to the renowned Tirk label in 2011, with which they released their critically acclaimed album Tender Administration in 2012. This followed two 12" EPs, featuring remixes from Richard Norris (Beyond the Wizards Sleeve/The Time & Space Machine) and Mark E (Ghostly International), and a string of remixes for the likes of Roots Manuva, Phil Oakey, and Maps. Their first two EPs on Static Caravan won the support of Lauren Laverne, Steve Lamacq, Gideon Coe, Gilles Peterson. The duo's live show features a live drummer and a string of guest vocalists and have seen them support Editors, Andrew Weatherall, Walls, Ulrich Schnauss, and Fujiya & Miyagi. In addition to playing Supersonic Festival and The Garden Festival (Croatia), Free School headlined the Rise of Birmingham show to celebrate the launch of the Library of Birmingham and held a residency in the Moog Sound Lab in June 2015.

STIL VOR TALENT (GERMANY)

KOLETZKI, OLIVER: Schneeweiss V CD (SVT 158CD)17.00Over the years, Oliver Koletzki has continuously cited Berlin as a point of reference, and, more importantly, a source of inspiration. Two of his albums, Großstadtmärchen (2009) and Großstadtmärchen 2 (SVT 080LP, 2012), have been direct odes to the capital. Friedrichshain, one of Berlin's vibrant districts, has always held a special place in Oliver's heart. This is where he started out when he first moved to the city, and this is where he lives at the time of this release. Moreover, the Stil vor Talent HQ is situated in the center of the bustling Kiez. So is Schneeweiss, one of Friedrichshain's best and most-loved restaurants. Since its establishment in 2006, the stylish eatery has impressed many a Berlin foodie with its contemporary take on alpine cuisine and attention to detail. Music is part of the experience here, which is no surprise, due to one of the owners' extensive background in the early days of Berlin's club scene. Pairing striking, award-winning interior design with a homey, laid-back atmosphere, Schneeweiss welcomes everyone with open arms: Kiez locals and celebrities, students and businessmen, hipsters and families -- all can be found here, Oliver Koletzki among them. Thus, after many a late-night label dinner, an idea slowly formed: why not join forces and collaborate on a compilation that represents both Oliver Koletzki and Schneeweiss's taste? Compiled specifically with the restaurant in mind, Schneeweiss V is a tasty treat for the music connoisseur and a musical treat for the culinary aficionado. Includes tracks by Jeremy Olander, HVOB remixed by DJ Tennis, Julian Wassermann & H.B.C., Benotmane & Darlyn Vlys feat. Haptic, D-Nox & Victor Ruiz, Terranova feat. Stereo MC's remixed by Re.You, DJ Tonio, Oliver Koletzki remixed by Hatzler, Drunken Kong, Phill & Dansmore, and Just Her.

SUBLIME FREQUENCIES

MILLIS, ROBERT: Indian Talking Machine: 78 RPM Record and Gramophone Collecting on the Sub-Continent 2CD/BOOK (SF 099CD)36.00Robert Millis's Indian Talking Machine is a 244-page full-color hardcover book with two CDs containing 46 tracks from shellac discs spanning 1903 to 1949, which Millis collected in India and compiled for their first-ever CD release; the book contains over 300 photographs of 78rpm record collections, collectors, and ephemera, as well as detailed track notes and an essay. Limited-edition one-time pressing of 1000 copies. These photos are true "record porn" (that is, shellac 78rpm record porn) -- photographs of shelves groaning under the weight of unimaginable titles, beautiful label- and sleeve-designs from long-gone eras, wind-up talking machines, crammed antique shops, forgotten artists, and more, all of which somehow survived (often barely) India's archival obstacles -- dust, heat, floods, rebellion, partition, and war. Indian Talking Machine is the result of nearly a year in India photographing record collections, interviewing collectors, and visiting archives and record markets; a personal take on the vast worlds of Indian music and the intricacies of collecting sound. One of the earliest non-Western outposts of the "recording industry," India's first recordings were made in 1902. The country's music is as beautiful as it is complex, as subtle as it is profound, and as divine as it is simple; these recordings offer virtuoso instrumental performances, jaw-dropping vocal renditions, folk music, comedy recordings, and even animal impressions. The 78rpm records were transferred by Jonathan Ward (Excavated Shellac) and mastered by Grammy Award-winning engineer Michael Graves (Analog Africa, Dust-to-Digital, Hank Williams: The Garden Spot Programs, 1950 (2014), and more). Robert Millis is a founding member of Climax Golden Twins and AFCGT, a Fulbright Scholar, a solo artist, and a frequent contributor to the Sublime Frequencies label. He compiled and co-produced Victrola Favorites in 2007 (DTD 011CD), and created both the Burmese Crying Princess (2013) and Korean Scattered Melodies (2013) LPs for Sublime Frequencies, as well as the films This World Is Unreal Like a Snake in a Rope (SF 073DVD, 2012) and Phi Ta Khon: Ghosts of Isan (2006). In short, he knows what he is doing. You will not be disappointed. Includes performances by Professor Abdul Aziz Khan, Gauhar Jan, Mysore Chaudiah, Musiri Subramania Iyer, Bangalore Nagaratnam, the Vyas Brothers, Talim Hossein, Babu Aughor Nath Chuckerbutty, L.C. Bural, Veena Shanmuga Vadivoo, Professor Barkatullah Khan, and many more.

SUPERIOR VIADUCT

COLTRANE, ALICE: Universal Consciousness LP (SV 070LP)24.002015 repress. "Originally released on Impulse! in 1971, Universal Consciousness is a major turning point in Alice Coltrane's momentous career. While her previous albums pushed the limits of spiritual free-jazz and featured much of her late husband's band, Universal Consciousness expands the harpist / pianist's compositional palette with organ and strings (working with Ornette Coleman). 'Oh Allah' is the finest example of Coltrane's new direction: tense violins dissolve into sublime organ solos and exquisite brushwork from long-time Mile Davis collaborator Jack DeJohnette. While the title track undulates with a fierce clamor, 'Hare Krishna' showcases Coltrane's uncanny ability for transcendent and slow-paced arrangements. In The Wire's '100 Records That Set the World on Fire,' David Toop writes, '[Universal Consciousness] clearly connects to other dyspeptic jazz traditions -- the organ trio, the soloists with strings -- yet volleys them into outer space, ancient Egypt, the Ganges, the great beyond. The production is astounding, the quality of improvisation is riveting, the string arrangements are apocalyptic rather than saccharine, the balance of turbulence and calm a genuine dialectic that later mystic / exotic post-jazz copped out of pursuing. Her lack of constraint was dimly regarded by adherents of '70s jazz and its masculine orthodoxies, yet Alice deserved better credit for virtuosity, originality, and the sheer will power needed to realized her vision.' This first-time vinyl reissue has been carefully remastered from the original master tapes."

SUTRO PARK

MCDOWELL, FRED: Amazing Grace (Colored Vinyl) LP (SP 10151LP)23.00"One of the truly legendary releases in the cannon of the man who defined modern Hill Country Blues, Amazing Grace finds Fred McDowell playing with the Hunter's Chapel Singers in Hunter's Chapel of Como Mississippi. This 1966 release originally on Testament was one of the few records producer Jim Dickinson took with him to every recording session to make sure there was always some real shit present. The recordings also features Fred's wife Annie Mae. McDowell and company perform what the record subtitle calls 'Mississippi Delta spirituals' on this stark and moving set, which includes a version of one of his signature tunes, 'You Got to Move.' Limited edition of 500 on gold vinyl."

BURNSIDE, R.L.: Sound Machine Groove (Colored Vinyl) LP (SP 10171LP)23.00"Recorded by folklorist David Evans in 1979 and 1980, these are Burnside's first recordings with electric guitar and also his first with a band. That band was the Sound Machine, a band he literally created himself out of members of his own family, blending raw Mississippi blues with soul, funk, R&B, contemporary beats and other urban flavors to make a marvelous amalgam of his own. Especially notable is a version of 'Sitting on Top of the World' with Burnside on slide guitar that, with Jackson's help, neatly evokes the sound and feel of a fife and drum band. Although Burnside became the darling of the blues crowd and hailed as something of an overnight success, one listen to this disc tells you he was already forging a new chapter in the Mississippi blues tradition with these recordings. Limited edition of 500 on blue vinyl."

SYSTEMATIC (GERMANY)

WEHBBA: Systematic Shades Vol. 1 12" (SYST 107EP)12.50When it comes to techno and tech house, Wehbba is without a doubt Brazil's number-one poster-boy, with countless strong releases on platforms like Intacto, 100% Pure, and Tronic, and a game-changing 2011 remix of Laurent Garnier's 1997 classic "Flashback." With the Systematic Shades EP series, Wehbba intends to connect and display different paintings with his own musical colors. Vol. 1 delivers typical Wehbba typical floor tracks that evoke vivid colors. Check out "View of Delft" to be touched; check out "Um den Kern" if you're searching for the next convincing floor-filler. Also includes "Visage" by Marc Romboy.

ROMBOY & BLAKE BAXTER, MARC: Follow the Sound 12" (SYST 108EP)12.50Detroit house pioneer Blake Baxter (Underground Resistance, Tresor) and Systematic head Marc Romboy team up for the eighth time to present their definition of real techno music. "Follow the Sound" is the message this time. "Version 1" comes along in a typically rough way, whereas the second version represents the very deep and old-school house shades of their works. Includes eight locked grooves.

TAIGA

NAKATANI, TATSUYA: Confirmation LP (TAIGA 031LP)22.00200-gram opaque red virgin-compound LP housed in a custom heavyweight yellow paper jacket with silver and metallic black foil stamping made at Studio on Fire in Minneapolis. Edition of 430. Nomadic percussionist Tatsuya Nakatani travels worldwide, his performances blooming with ceaseless expanse. Although Nakatani is a valiant collaborator, joining with other musicians, dancers, filmmakers, and beyond, solo percussion is the root of it all. Simply stated in Nakatani's own words, this album is "Confirmation of all of my acoustic solo percussion performance since 1998. Recorded live at Nakatani-kobo in Easton Pennsylvania USA during snow season of beginning of 2015. No overdubbing and used the fewest effects possible on this LP." Confirmation is Nakatani's third release on Taiga. The label initially saw the vibrant color of his collaboration with Mary Halvorson and Reuben Radding as MAP on Fever Dream (TAIGA 009LP, 2010). This was followed by Nakatani Gong Orchestra (2012), a woven blend of heavy vibrations from Nakatani's one-off group experiments on the road. Now there's number three, solo percussion, the foundation of his practice, charged with thunders, screams, sparks, and countless other ineffable sonic textures. Mastered by James Plotkin and cut direct to copper, Confirmation is Nakatani's first solo percussion album to be released on LP.

TRAD VIBE RECORDS (FRANCE)

AHMAD, RAASHAN: For What You've Lost LP (TV 005LP)22.002011 release. For What You've Lost is a heavily collaborative musical journey sure to give Raashan Ahmad's fans what they've been waiting for. This album is rooted in classic hip hop tradition, as well as jazz, soul, and funk, while continuing to push musical boundaries into the future of the genre. Guest appearances from new soul heroes like Aloe Blacc (Stones Throw) and Noelle Scaggs (The Rebirth) and hip hop veterans like Gift of Gab (Blackalicious) and Count Bass D alongside new school MCs like Rita J (All Natural), as well as producers like Stro the 89th Key (The Procussions) make this album a diverse spectrum of sound and culture. Quickly becoming one of the most sought-after MCs, Raashan Ahmad here showcases his evolution and growth. As Pitchfork puts it, "Raashan Ahmad emerges as one of the West Coast's premiere MC's, his flow effortless and vocabulary expansive. He brings an everyman context to his rhymes making the mundane dramatic with a subtle righteousness and around-the-way likeability." Also features 20Syl, Ragen Fykes, DJ Mahf, Silya Nymoen, and Moe Pope.

TRUE ROMANCE (GERMANY)

PRISON GARDE: Melody EP 12" (TREP 009EP)14.00Canadian Vaughn Robert Squire, better known as Prison Garde, makes his True Romance debut with his Melody EP, about which he says, "It's gospel-influenced house stuff. It's in line with the last couple records that I put out, but I feel like it's a little more mature and that the quality of the recording is a lot higher than anything else I've done as Prison Garde. I recorded it at the Phi Centre in Montreal -- it's a beautiful cultural center in the Old Port. Ango and I locked ourselves in there and did a live record on an SSL in a big room."

TUNEFORK (LEBANON)

TABBAL, FADI: Museum of Disappearing Buildings CD (TFRK 002CD)16.50Fadi Tabbal, lead guitarist with Lebanese psychedelic rock band The Incompetents and various other alternative outfits, presents his second solo album, Museum of Disappearing Buildings. This album continues his sound exploration through guitar treatments, which began with 2013's On the Rooftop Looking Up. While the young guitarist's first album featured a finely devised interaction of ambient soundscapes and John Fahey-inspired finger-picking acoustic meanderings, this second solo outing adopts a different approach -- it relies on an interplay of ambient guitar drones and grainy electronics, which recalls somewhat the work of early krautrock vanguard artists from the 1970s, the leftfield exploration of British electro-acoustic practitioners from the mid-1970s, and the radical works of American minimalistic composers from the 1960s. As in his first outing, Tabbal preferred a radical and direct approach to composition and recording, opting for the intimacy and self-reflection of home recordings over the traditional environment of a recording studio. At the heart of the album resides one unifying concept, which finds its way into the resulting musical bed: the sketches, impossible structures, and urban configurations of Russian paper architects Alexander Brodsky and Ilya Utkin.

TYPE (UK)

SHAPEDNOISE: Different Selves LP (TYPE 127LP)18.00Shapednoise is Italian producer Nino Pedone, and since emerging in the early 2010s he's built a name for himself issuing music that bridges the gap between the basement and the club. Noise and techno are proven bedfellows at this point (for better or for worse), but Pedone pushes harder and further, and Different Selves, as the title suggests, is his most diverse and challenging work to date. Fusing the industrial grind of early Godflesh (Justin K. Broadrick even makes an appearance on opening track "Enlightenment") with the raw power of mid-'90s D&B, the visceral pleasure of early grime, and the ominous scrape of dark ambient, Shapednoise expertly navigates unfamiliar territory. Whether traversing beatless outworld landscapes with "Travels in the Universe of the Soul" or assaulting the senses with the acidic, rhythmic blast of "Heart Energy Shape," there's a sense that Shapednoise is exploring his own boundaries. Different Selves is a challenging, unruly selection of tracks; not a deconstruction of club music, but an amplification, blowing every sound out to near cacophony. The result is truly explosive. Mastered and cut by Matt Colton. Edition of 500.

UNDAY RECORDS (BELGIUM)

GO MARCH: Go March CD (UNDAY 044CD)17.00Go March are an instrumental group based in Antwerp, Belgium, consisting of Philipp Weies (guitars), Hans de Prins (synthesizers), and Antoni Foscez (drums) (members of Intergalactic Lovers). The project, born out of jam sessions, is now realized in the band's self-titled debut album, an electronic, Germanic-infused, post-rock screamer that's a sort of Mogwai-meets-Kraftwerk synthesis yet with all the futuristic propulsions of a fresh, hungry band making music not just for 2015 but for beyond. That said, while the group have landed on this irresistible blend of electronics, rock, and more ambient passages, on Go March the initial conceptions varied somewhat. "My initial ideas for a possible sound were actually based around bands like Boris or Lightning Bolt, but the moments when we just improvised were simply far more interesting," says Weies. "When I first showed our demos to a friend of mine he said it reminded him of something between Trans Am and Maserati. My reply was: 'Wow, we need to check them out!'" While the group state that "it's quite difficult to pinpoint where inspiration actually comes from," Weies does concede that one particular inspiration holds especially strong for him. "I am vastly inspired by the movies of David Lynch, especially Lost Highway and even more specifically the sequence where a car is driving through the dark and all you see are the median strips passing by. The image has this distinct tunnel vision-feel to it that I am often looking for when making music. ... I can totally dig a perfect 3:22 pop song, but I always had a weakness for seemingly endless repetition, mainly because it can put you in that state of trance. At a certain point you just get sucked in there and lose yourself completely." "Repetition," "groove," and "minimalism" are words that might spring to mind when describing Go March, but that's not to say the album is single-minded. While the impact of Germanic proto-techno bands is a clear influence on the group, the freedom of contemporary electronic music, math rock, and modern classical are all audible in the grooves of the album. From debut single "Rise" (UNDAY 040-1EP, UNDAY 040-2EP (2015)), which stretches a post-rock groove over the five minute mark, to "Slow Horse" and "The White Lodge," which are smothered in glacial keys, synthesized throbs, and shuffling poly-rhythms, Go March is an album that defies expectations and challenges the listener in equal measures.

GALATI, ALESSANDRO: Jason Salad! CD (VVJ 014CD)14.502013 reissue; originally released in 1997. Jason Salad! is the second CD of the pianist and composer Alessandro Galati, who has become one of the top musicians of the European jazz scene. He's found here in the company of some illustrious companions (Bob Sheppard, John Patitucci, Peter Erskine). This album represents an important step for those who follow closely this highly original musician. In addition to a new design the CD contains a different playlist than the previous edition. Included here are new original songs recorded in analog in Los Angeles in the historic Mad Hatter Studio; breathe fully the typical atmosphere of the "warm sound" of the American west coast. Alessandro Galati: piano, keys; Bob Sheppard: saxophones, clarinet; Peter Erskine: drums; John Patitucci: acoustic and electric bass.

REA, DANILO: Lost in Europe CD (VVJ 030CD)14.502000 release. Venetian pianist Danilo Rea, whose true passion has always been "to improvise from start to finish," seems to have made his desire clear here, with his first solo album, Lost in Europe. The album, recorded entirely live, was born during a tour of nine concerts held by the pianist in the main jazz festival of Europe (hence the title), posted by Umbria Jazz as a representative of Italian jazz. In the eight tracks on the album, Danilo Rea puts clear light on his ability, which had already been outlined in the projects of Doctor 3, a fusion between jazz and pop, inspired by freedom and the excitement of the familiar and unfamiliar melodies, with the support of his virtuoso instrumental technique that emerges in this album. The songs flow smoothly, listening to the gentle touch of the pianist, chasing his thoughts translated into notes, and allowing yourself to be led by the flows of emotion that the artist conveys. In conclusion, this is an album that will speak to the hearts of all lovers of music, not just jazz.

PIERANUNZI, ENRICO: Evans Remembered CD (VVJ 031CD)14.502001 release. The project is the brainchild of Enrico Pieranunzi, a sort of tribute to compositions of the brilliant American pianist, Bill Evans, in the compass of its existence. It takes shape and form from a successful book about Evans written by Pieranunzi, which Alternative Press republished in a beautiful edition accompanied by a compact disc. The operation conducted by Pieranunzi turns out to be a rethinking of expressive parameters rather than a simple reading of them: the eye of an artist on the work of another artist, able to highlight the implicit consonance and the inevitable fractures. Into this game of subtle reflections there sneaks a vibrant music, which offers accurate emotional watermarks: a small miracle expression of balance and wisdom, but sunny and shady, fierce and tender, oxymoronic as the man who glimpsed Evans, between the notes, backlit.

IONATA/CLARENCE PENN/REUBEN ROGERS, MAX: Kind of Trio CD (VVJ 074CD)14.502011 release. A trio of great harmony, already experienced in the past with another successful album, this time Max Ionata, Clarence Penn, and Reuben Rogers compete in a recording project using the original formula of the trio and deliver a total of 11 tracks with nine original pieces signed by the three musicians. Max Ionata is considered one of the most exciting saxophonists of the Italian jazz scene; he has played in some of the most important jazz clubs and jazz festivals in the world and has collaborated with great musicians such as Lenny White, Robin Eubanks, Steve Grossman, Mike Stern, Bob Mintzer, Bob Franceschini, Hiram Bullock, Joel Frahm, Roberto Gatto, Dado Moroni, Gegè Telesforo, John Thomas, Flavio Boltro, Furio Di Castri, Fabrizio Bosso, Mario Biondi, and many others. Clarence Penn, described by some critics as the most elegant of contemporary jazz drummers and chosen by many for his versatility in all kinds of music, he has collaborated with, among others, Betty Carter, Wynton Marsalis, Dizzy Gillespie, Steps Ahead, Mike Stern, Dianne Reeves, Roberta Flack, Gato Barbieri, Uri Caine, Dave Douglas, and Entìrico Rava. Reuben Rogers, bass player of exceptional musical talent, has had the opportunity to work with international jazz artists as Wynton Marsalis, Jason Moran, Roy Hargrove, Joshua Redman, Nicholas Payton, Mulgrew Miller, Jackie McLean, Charles Lloyd, and Dianne Reeves, among others. He has performed on tour around the world and has recorded over 70 CDs.

GIULIANI/FABRIZIO BOSSO/ENZO PIETROPAOLI/MARCELLO DI LEONARDO, ROSARIO: The Golden Circle CD (VVJ 086CD)17.502013 release. In 1965, after a long absence from the music scene, Ornette Coleman recorded a two-volume live album with innovative rhythms and sonorities at the Golden Circle, a Stockholm jazz club. This marked the beginning of Coleman's contract with Blue Note, representing a turning point in his career. Four renowned Italian jazz artists were inspired by that legendary live performance: Rosario Giuliani, Fabrizio Bosso, Enzo Pietropaoli, and Marcello di Leonardo. Together they formed an imaginary "golden circle," blending together their experiences and setting aside their preeminent roles to convey their extraordinary talent as interpreters and music makers in a singular band. This does not intend to be exclusively a tribute to Ornette Coleman and his music, surprisingly still current after 50 years, but aims to implement the strong urge to move closer to what Coleman termed "The New Thing." Apart from Coleman's famous songs (such as "Congeniality" or "Jayne," dedicated to his wife, poet Jayne Cortez) the CD is enriched with three original tracks, especially produced for this occasion, where these jazz artists undeniably manifest what Coleman constantly repeated: "This is our music."

GALATI TRIO, ALESSANDRO: Seals CD (VVJ 090CD)17.502014 release. Seals is the another work by the pianist and composer Alessandro Galati, together with bassist Gabriele Evangelista and drummer Stefano Tamborrino. The variety of experiences and background of the members of the rhythm section, individually involved in major projects (Enrico Rava Tribe, Hobby Horse), contributes to the development of a deeply engaged musical dialogue with the leader. The attention for a simple and elemental melody, a key feature in Alessandro Galati, meets with the desire to diverge from traditional jazz composition and generates a CD with great breadth. The ten tracks alternate original compositions of the leader with personal interpretations of well-known standards. "Taylor Without Scissors" is a delicate and original ballad that opens the CD followed by a distinctive arrangement of "Cherokee" by Ray Noble, developed in odd tempo for the creation of unpredictable and crazy melodic equilibriums. The title-track is a pop song with a sophisticated lightness. Lofty and well-balanced atmospheres can be found in the original tracks "Unpredible," "The Country Life," and "Little Sophia." "Alien Blues" develops a theme that apparently shows strong links with serial music and then meets free atmospheres. The standard "Softly As In A Morning Sunrise" is introduced by a lyric drum solo that evokes exotic vibes steered by the well-conceived piano interpretation. "Casi Abstemia," again an original, explores the sweet and melodic colors of tango. The beautiful "So In Love" by Cole Porter, the only solo piano track, brings to life the deepest emotions of the listener's inner soul.

NASTRO TRIO, FRANCESCO: Colors of Light CD (VVJ 093CD)18.002014 release. Pianist Francesco Nastro presents Colors of Light with long-time collaborator Giuseppe la Pusata on drums and Paris-based Canadian bassist Chris Jennings. The compositions are all born from the pen of the pianist, except for a song by Don Backy rearranged here with such rhythmic and harmonic distortion that it seems like a new composition. The search for the new permeates this entire CD. In fact, every song takes some unexpected directions, both in interplay between musicians and in the composition of the songs. Many songs feature irregular time signatures and rhythmic and harmonic complexity, though the simple melodies that bloom in the album make it a fluid listening experience.

VIETNAM (FRANCE)

PHARAON DE WINTER: Pharaon de Winter CD (BEC 5156282)17.00Pharaon de Winter was a relatively unsuccessful 19th-century painter from Northern France. Today it's the name of a band, but also the name of the song that changed its author's life. The ex-leader of the bands Toy Fight and (Please) Don't Blame Mexico (releasing with the latter First Aid (2006) and Concorde (2011), featuring the hit songs "The Protocol" and "Michel Foucault (Saved My Life)"), Maxime Chamoux's musical style could be placed somewhere between North American rock like Spoon or Neutral Milk Hotel and sophisticated British pop like Prefab Sprout or XTC. Then he decided to cut loose: "I was starting to get bored of indie rock and wanted something different," he explains. "I wanted to sing in French. I wanted to use more beautiful chords. For several months, I searched for a new shape and colour to give to these new songs. And one day, I had a kind of revelation. It was called Pharaon de Winter. From that day on, all the music I loved came together in a particular weave." Pharaon de Winter features ten songs naturally uniting influences ranging from the popular to the edgy: William Sheller's precise writing, Lucio Battisti's warmth, Steely Dan's refined groove, Arthur Russell's sense of adventure, Véronique Sanson's feel for melody...

STRATIS: Mokoyaro 1982-1985 5LP BOX (VOD 107LP)110.002012 release. Limited edition of 500. This box is a complete anthology of the musical output and works by Albert Klein and Antonios Stratis as Stratis, as well as Klein's project with Philip Tesch, 96 Eyes, all recorded between 1982-'86. It contains all of their original tape recordings released on their own label Creative Tapes (later called Temporary Music) between 1982 and 1984 (Exotic, New Face, Musica da Ballo, Film Musik, and Raging Beauty), which they also licensed to Colin Potter's ICR label. It also contains all of their compilation contributions from 1983-'86, originally released on various vinyl and tape labels such as Bain Total, X-Tract, Mystery Hearsay, Noel (founded by Oscar Smit (Vinyl Magazine)), and many more. All in all, 64 beautiful minimal synth tracks ranging from NDW-Classics like "Die Kur" through minimal robotic synth pop; German electro; cold wave classics like "Herzlos" and "She Is Dancing"; sci-fi and future-obsessed tracks that could have been composed for movies like Blade Runner (1982), Flash Gordon (1980), or Tron (1982); and even traditional progressive German electronic music from the Tangerine Dream school as well as tracks recalling Chris & Cosey and Yello, including "Technotow," "Foggy Weather," and "Nightfly." Masterfully played analog equipment with jazz and funk influences and superb basslines ("Musica da Ballo," "Mezzanotte," "Dance"). As if this is not enough, one can even hear tracks with Eastern electro vibes and Arabian melodies and vocal samples echoing in the background, sometimes bringing to mind Bryn Jones's Muslimgauze. "Although the role of Stratis in the 80's was obscure in commercial terms, the ambassadorial significance of his self owned label Temporary Music was vital in introducing Northern American artists to what has now grown into a flourishing German electro scene and vice versa." --Mark Lane, Chain D.L.K.

MERZBOW: Lowest Music & Arts 1980-1983 10LP Box (VOD 108LP)225.002012 release. Limited edition of 500. Includes large booklet with images. This ten-LP set in a black varnished and silkscreened wooden box is a comprehensive anthology of Merzbow's early works, carefully selected and mastered by Merzbow himself. Merzbow has been actively recording noise music since late 1979, releasing over 100 solo recordings and numerous collaborations since. This set focuses on Merzbow's very early works from 1980-1983 on his first tape label, Lowest Music & Arts -- the predecessor to his famous ZSF Produkt label. Some of the selected material was reissued in fragments and extracts as part of the famous 50-CD Merzbox, but none of it has previously been released on vinyl. LP 1 contains Hyper Music 2, a previously unreleased recording from 1980 in the style of Metal Acoustic Music. LP 2 contains Metal Acoustic Music, originally released as C-90 cassette in very limited edition in 1981. While the A-side of this recording was featured and released on Merzbox, this LP features the B-side of the original tape, previously unreleased in any form outside of the original tape edition. LPs 3 and 4 feature the highly sought-after tape Merz Collection 007, recorded in 1980 and released in 1981, as well as the tape Tridal Production from 1981. Some parts of these recordings appear in the Merzbox, but this is also the first time that these recordings have been reissued in their entirety. LPs 5 and 6 cover Mechanization takes Command, originally released as a C-90 cassette in early '82. Again, some parts appeared in the Merzbox, but this is the first reissue of the complete set. LPs 7 and 8 are committed to the two highly sought-after tapes Solonoise 1 and Solonoise 2. While Solonoise 1 can also be found in the Merzbox, Solonoise 2 is reissued here in its complete original form for the first time. The word "solo" means "solar" and is a reference to Georges Bataille's Solar Anus. LPs 9 and 10 contain Yahatahachiman and Escape Mask, two recordings from 1983 of which Merzbow is extremely proud. Both recordings represent an almost hidden side of Merzbow and show his flexibility in the variation of noise. They are a true hidden treasure of Merzbow music. Merzbow had dismissed them for years due to their guitar rock appeal and rhythmic drive, but it is exactly this style and its sound-wall of psychedelic atonal guitar-noise in combination with the technoid drum machine that catches the listener's ear decades later.

BODDY, IAN: Spectroscopic 1979-1982 3LP BOX (VOD 110LP)68.002013 release. Limited edition of 500. Ian Boddy is a prolific British electronic musician and composer. He has been active since the early '80s with numerous releases and contributions to many international labels such as Flowmotion, Mirage, Signal Records, Colin Potter's ICR, Third Mind, his own DiN label (founded in 1999), and many more. His creative output is influenced by '70s German krautrock/electronica, especially artists like Tangerine Dream and Klaus Schulze. In the late '70s and early 1980s Boddy began experimenting at an Arts Council-funded studio in Newcastle called Spectro Arts Workshop, where he was able to use the facility and its equipment (e.g. VCS 3, EMS, etc.) to compose and record his first compositions. This early period resulted in three cassette releases on the Mirage label, which showcased Boddy's work with analog synthesis and tape manipulation -- Images (1979/80), Elements of Chance (1981), and Options (1982). This three-LP box set includes all three tape releases plus additional bonus and live material from this period.

DATA-BANK-A: K.O. City Studio Recordings 1981-85 3LP BOX/7" (VOD 111LP)68.002013 release. Limited hand-numbered edition of 500. Data-Bank-A is the highly prolific EBM/darkwave/synth project of Andrew Szava-Kovats, who is also known for his '80/'90s works as and with Dominion, Compound, and Parade of Sinners on labels like New Rose/Lively Art (France), Subway (aka Subtronic) Records (Germany), Tragic Figures (Portugal), and KK Records (Belgium). As many artists did in the early '80s, he founded his own label called K.O. City Studio (later renamed True Age Records), through which he released his first tapes and records, including the cassettes Spiritus Sanctus and Language Barrier, the LPs Access Denied and The Citadel, as well as the 7"s Intervention and Isolation. All of these recordings from the early stages ('81-'85) of this amazing project can be found on this three-LP set with bonus 7".

VA: Xenophone International Presents Cosmic Overdose/Twice a Man/Lars Falk 1979-1985 3LP BOX (VOD 113LP)68.002013 release. Limited edition of 500. This three-LP box set compiles the early stage (1979-'85) of the Swedish label Xenophone International, founded by Dan Söderqvist and Karl Gasleben in the late '70s. The label is well known for tape releases by Cosmic Overdose (Final Koko, 1980) and Twice a Man (The Sound of a Goat in a Room, 1983), as well as the 1983 cassette Through by ex-Twice a Man member Lars Falk. All three of these highly collectable and sought-after cassettes are presented here on vinyl for the first time, with additional bonus material. The three bonus tracks on the Cosmic Overdose LP include one previously unreleased track from 1980 called "Defence" as well as the two tracks ("To Night" and "Dead") from their second 7", originally released on Silence Records in 1980. The bonus tracks on the Lars Falk LP include the two 7" tracks "TV-Eye" and "Doors" from the TV-Eye 7", released on Xenophone in 1985.

VOODOO FUNK UK (UK)

TIROGO: Disco Maniac/We Like to Party 12" (VF 002EP)14.502015 repress. At the close of the 1970s, just a couple of years after the classic psych-funk of Float (QDK 052CD), Wilf Ekanem and crew trained their frazzled peepers on disco. The ensuing Aiye People LP is a stunner and a collector's legend. Here are two standouts from the album, magnificently revived with crisp sound, a top-notch pressing in a Voodoo Funk house-bag, with a two-by-one-foot poster. Afro-fried Kool and The Gang on a mission to "blow your soul on fire," featuring space-jazzbo Fred Fisher on trombone, the E Gang sisters on sassy backing vocals, Elvy's funky lead guitar, solo flute by Willie Chucks Edozie, and ill cosmo-synths and moog.

WAXWORK RECORDS

POPOL VUH: Nosferatu the Vampyre 2LP (WAXWORK 012LP)42.00"Waxwork Records proudly presents the deluxe vinyl soundtrack reissue of Werner Herzog's Nosferatu the Vampyre. The album, composed by German prog legends Popol Vuh, comes from Waxwork as a deluxe, expanded double LP including four extra tracks from the film, and originally released on the Popol Vuh album, Bruder des Schattens - Sohne des Lichts. Waxwork has worked directly with the family of late Popol Vuh founder, Florian Fricke, to faithfully restore and remaster the soundtrack for vinyl. Incredibly detailed new album artwork has been commissioned from Jessica Seamans of Landland, and is the first officially-approved Nosferatu the Vampyre soundtrack artwork since the original 1978 soundtrack release. In addition to liner notes by artist Jessica Seamans, the LP package also includes an art print of the front cover artwork."

YESMISSOLGA (ITALY)

PALESTINE, CHARLEMAGNE: The Apocalypse Will Blossom CD (YMO 001CD)15.002007 release. Charlemagne Palestine's The Apocalypse Will Blossom is a stunning piano performance that brings Palestine's recorded work thundering into the 21st century. Working in the lower registers of the piano, as Palestine did in the late '70s, this intensely powerful live performance is unlike anything he's previously released. Recorded in 2000 by Christoph Heemann at the Ludwig Forum für Internationale Kunst in Aachen, Germany (on the occasion of the 1000-year celebration of Charlemagne), and subsequently processed by Heemann, The Apocalypse Will Blossom offers the closest experience one can have to hearing Palestine live without witnessing one of his performances. This recording is offered in a CD digipak printed in full color with a collage inspired by Palestine's visual work representing the four horsemen of the apocalypse and an original collage detail of Triomphe de la Morte by the French artist Jacques Brissot. Charlemagne, NOW!

ART-ERRORIST & ACID COBRA: Cold Waters CD (YMO 002CD)14.002012 release. Cold Waters is the result of a very short yet intense meeting between Jean-Hervé Péron (Faust) and Amaury Cambuzat (Ulan Bator). The duo met in the French countryside -- two days, two mics, two friends, and a dog... from hilarious to heart-striking, these "Songs from the Mill" flowed through them. Cold Waters, far from being an anecdotal side-note to their ongoing collaborative efforts in the legendary "krautrock" band Faust, reaffirms the duo's successful explorations as leading figures of avant-rock. Cold Waters combines the best of the early-'70s Faust sound with the freshness of today. This album is a mixture of joyful play, liquid psychedelia, pounding aural textures, delicate drones, and stormy meanderings that break into exalting voyages beyond the bucolic countryside in which it was recorded. Jean-Hervé Péron is one of the founders of Faust. Despite the now-historic split in the band, Faust, under Péron, continues to tour extensively, including 2012 US shows in collaboration with The CalArts Orchestra. Amaury Cambuzat founded Ulan Bator, a French experimental post-rock group whose 2000 album Ego:Echo was produced by Michael Gira (Swans). The duo have been working together since the early 2000s in Faust. Péron and Cambuzat both have side projects as Art-Errorist and Acid Cobra respectively. Presented in a full-color digipak.

ACID COBRA: Petrified Minds CD (YMO 003CD)14.002012 release. Acid Cobra is Amaury Cambuzat (Ulan Bator, Faust), who has remained a cult figure throughout a career that has included collaborations with Jaki Liebezeit (Can), Michael Gira (Swans), Robin Guthrie (Cocteau Twins), Jac Berrocal (Catalogue), Faust, Pascal Comelade, and so many other luminaries from the international music scene. Yesmissolga, Acid Cobra Records, and Lumberton Trading Company present Petrified Minds, a collection of solo works by this curious figure of the avant-garde. Fusing wiry yet strong song-craft with the faintest air of psychedelia, a dash of avant-weirdness, and fervent post-punk sensibilities, this album catches some of Cambuzat's most focused work so far. Released in a limited edition of 300 copies in a full-color digipak with original art by Acid Cobra.

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